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Performing Chinese Contemporary Art Song

Performing Chinese Contemporary Art Song

Performing Chinese Contemporary Art :

A Portfolio of Recordings and Exegesis

Qing (Lily)

Submitted in fulfilment of the requirements

for the degree of

Doctor of Philosophy

Elder Conservatorium of

Faculty of Arts

The University of Adelaide

July 2017

Table of contents

Abstract

Declaration

Acknowledgements

List of tables and figures

Part A: Sound recordings

Contents of CD 1

Contents of CD 2

Contents of CD 3

Contents of CD 4

Part B: Exegesis

Introduction

Chapter 1 Historical context

1.1 History of Chinese art song

1.2 Definitions of Chinese contemporary art song

Chapter 2 Performing Chinese contemporary art song

2.1 Chinese contemporary art song

2.2 Vocal techniques for performing Chinese contemporary art song

2.3 Various vocal styles for performing Chinese contemporary art song

2.4 Techniques for staging presentations of Chinese contemporary art song

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Chapter 3 Exploring how to interpret ornamentations

3.1 Types of frequently used ornaments and their use in Chinese contemporary art song

3.2 How to use ornamentation to match the four tones of Chinese pronunciation

Chapter 4 Four case studies

4.1 The Hunchback of Notre Dame by Deyi

4.2 I Love This Land by Zaiyi

4.3 Lullaby by Guangnan

4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng

Conclusion

References

Appendices

Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art

Appendix B: Text of commentary for 56 Chinese contemporary art songs

Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination

Appendix D: University of Adelaide Ethics Approval Number H-2014-184

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NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library.

The CDs must be listened to in the Library. Abstract

This performance-based research project surveys Chinese contemporary art song from 1976 to the present, as represented in the work of four : Shi Guangnan (1940–1990), Lu Zaiyi (b. 1943), Shang Deyi (b. 1932), and Zheng Qiufeng (b. 1931). The songs, which are grouped into five categories according to their content – patriotic, nature, narrative, love and friendship – are documented, analysed and performed. A particular focus is placed on the interpretation and performance of musical elements that cannot be captured in notation, for example the use of certain vocal ornaments to emulate the four tones of Chinese pronunciation.

The submission comprises four CD recordings and a 15,000-word exegesis. A short English commentary is delivered before each song on the CDs so that the listener is able to grasp its content. The interpretation of the songs is informed by consultations and interviews with the composers still living. The recordings provide guidance in the interpretation of this repertoire, and enhanced understanding of the operatic style at the heart of Chinese art song. The study fills a gap in the knowledge of Chinese contemporary art song theory and practice.

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Declaration

I certify that this work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used in a submission for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree.

I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968.

I also give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library catalogue and also through web search engines, unless permission has been granted by the University to restrict access for a period of time.

Qing (Lily) Chang

Adelaide,

22 July 2017

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Acknowledgements

I would like to express my deep gratitude to my Principal Supervisor, Stephen Whittington, for his guidance, his profound musical knowledge and his great contribution in creating the arrangements for by Shi Guangnan and Zheng Qiufeng, and playing them for my recording.

I also would like to show my deep gratitude to my Co-supervisor, Associate Professor Kimi Coaldrake, for her academic guidance and enthusiastic encouragement. Her kindness, patience and willingness to give her time so generously throughout my project has been very much appreciated. Her assistance with editing the English translation of the 56 songs found in Appendix A is also acknowledged.

I would like to thank Professor Mark Carroll for his valuable constructive advice, his genuine help and enthusiastic encouragement which always inspired me to keep going.

I would like to express my deep gratitude to my close friend Charles Meehan, who was always my first reader and helped to improve my writing even though he was unwell. Sincere thanks to Rebecca Meehan, Charles’ lovely wife, as she always takes care of me, even in hard times; her spiritual support inspired me to keep working hard.

Special thanks also to Mark Sandon for his piano ; even when he was very busy he still kept doing this work for me.

My grateful thanks are also extended to the recording engineers, Peter Dowdall and Daniel Pitman, for their excellent work and patience as they spent plenty of time on editing.

I also would like to thank my colleagues Vincent Plush for his contribution to the recording of the narrations, and Elizabeth Foster who taught me how to use the Sibelius and helped me to make professional musical examples and charts.

My special thanks also to Ruding (洪如丁, Shi Guangnan’s wife), and Chinese composers Zheng Qiufeng (郑秋枫), Shang Deyi (尚德义) and Lu Zaiyi (陆在易) for offering me their books, CDs, DVDs and musical scores.

I would also like to extend thanks to my teachers, especially the former director of the Music Institute Qing ( 田青) for his invaluable insights through interviews and discussions. Also thanks to the Professors of Normal University, Zaisheng (刘 再生) and Jingtian (解景田) for their sincere encouragement. v

My cordial thanks to my lovely student (王燕) who is a famous soprano of the Chinese and Dance Theatre, and my friend Chen (陈晓) who is head of the Voice Department of Conservatory of Music for sharing their experience and ideas about singing Chinese art song.

A special thank also to Wang Hong (王红), manager of Editing Department 1 of the Culture and Art Publishing House, Beijing, who helped me obtain the latest publication of Shi Guangnan’s music scores.

Thank you to professional editor Kate Leeson for copy editing this exegesis.

Finally, I would like to express my heartfelt thanks to my husband and my lovely daughter for their unconditional support, encouragement and understanding throughout this whole process.

Thanks to all my friends, even those who are not named in here. Without their support, it would have been impossible to complete my research in just over three years.

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List of tables and figures

Table 1: Four tones of Chinese pronunciation: 四声 18

Table 2: Four shapes of the mouth and strength: hu 四呼 19

Table 3: Five acting points of the mouth: yin 五音 19

Table 4: The thirteen rhymes: shi san zhe 十三辙 20

Figure 1: Tajik dance - Shape of arms and fingers for female 64

Figure 2: Tajil eagle dance - imitation of eagle 65

Figure 3: Tajik eagle dance – action of legs and arms 65

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List of Musical Examples

Ex. 1: Shi Guangnan, Who Knows My Yearning, 76. 25

Ex. 2: Shang Deyi, Song of Farewell, bar 40. 26

Ex. 3: Shi Guangnan, The Merry Heart, bars 38, 43 and 75. 26

Ex. 4: Shi Guangnan, A Young Girl’s Heart, bars 9–10 and 15–16. 27

Ex. 5: Shi Guangnan, The Rainbow After Rain, bars 28 and 30. 27

Ex. 6: Shang Deyi, Madam , bars 19 and 24. 28

Ex. 7: Shang Deyi, Madam Xiang Lin, bars 7 and 9. 28

Ex. 8: Shang Deyi, Madam Xiang Lin, bars 62–65. 29

Ex. 9: Shang Deyi, The Hunchback of Notre Dame, bars 1–9. 32

Ex. 10: Shang Deyi, The Hunchback of Notre Dame, bars 10-22. 34

Ex. 11: J.S. Bach, Prelude in C major, BWV 846, bars 1-5. 35

Ex. 12: Shang Deyi, The Hunchback of Notre Dame, bars 24-26. 36

Ex. 13: Shang Deyi, The Hunchback of Notre Dame, bars 11. 37

Ex. 14: Shang Deyi, The Hunchback of Notre Dame, bars 15. 37

Ex. 15: Shang Deyi, The Hunchback of Notre Dame, bar 29. 37

Ex. 16: Shang Deyi, The Hunchback of Notre Dame, bar 56. 37

Ex. 17: Shang Deyi, The Hunchback of Notre Dame, bars 27 and 31. 38

Ex. 18: Shang Deyi, The Hunchback of Notre Dame, bars 44 and 47. 39

Ex. 19: Lu Zaiyi, I Love This Land, bars 20-32. 42

Ex. 20: Lu Zaiyi, I Love This Land, bars 96-104. 44

Ex. 21: Lu Zaiyi, I Love This Land, bars 10-19. 45

Ex. 22: Lu Zaiyi, I Love This Land, bars 32-40. 46

Ex. 23: Lu Zaiyi, I Love This Land, bars 1-9. 47

Ex. 24: Lu Zaiyi, I Love This Land, bars 105-113. 48 viii

Ex. 25: Lu Zaiyi, I Love This Land, bars 49 and 103. 49

Ex.26: Shi Guangnan, score of Lullaby. 56

Ex. 27: Zheng Qiufeng, Autumn, Pamir, How Beautiful

My Hometown Is! bars 1-12. 59

Ex. 28: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! bars 43,48 and 51. 60

Ex. 29: Zheng Qiufeng, Autumn, Pamir, How BeautifulMy Hometown Is! bars 21-29. 61

Ex. 30: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! bar 20. 62

Ex. 31: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! bar 69. 62

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Part A: Sound recordings

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Contents of CD 1

Composer: Shi Guangnan (1940–1990)

Track 3 When the Ox-Drum Is Beating (当牛皮鼓响的时候) 3:37

Track 5 My Mother, (我的祖国妈妈) 3:44

Track 7 Begonia Leaves (秋海棠叶) 5:04

Track 9 Who Knows My Yearning? (我的思念有谁知道? ） 9:16

Track 11 Hometown (故乡) 4:25

Track 13 Ah! Eagle (啊！鹰笛) 6:03

Track 15 Early Winter (初冬) 5:30

Track 17 Lullaby (摇篮曲) 3:27

Track 19 A Young Girl from the South (南国少女) 3:14

Track 21 Ripe Grapes in Turpan (吐鲁番的葡萄熟了) 3:52

Track 23 The Passionate Land (多情的土地) 4:35

Track 25 The Tea Song in March (三月茶歌) 2:22

Track 27 Celebration Song (祝酒歌) 3:16

Total time 68:32

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Contents of CD 2

Composers: Lu Zaiyi (b. 1943) and Shi Guangnan

Track 3 My Country, My Beloved Mother （祖国慈祥的母亲） 3:17

Track 5 The Bridge in My Homeland (桥) 2:40

Track 7 Poetry of Looking over My Home (望乡词) 4:58

Track 9 Longing and Expectation (盼) 4:18

Track 11 The Last Dream (最后一个梦) 3:04

Track 13 Where Is My Home? (家) 4:21

Track 15 I Love This Land (我爱这土地) 8:06

Track 17 The Rainbow after Rain (雨后的彩虹) 5:28

Track 19 The Ballad of Angelica in (台湾当归谣) 4:21

Track 21 Ah, Clouds! (云啊, 云) 2:51

Track 23 The Little Birds Are Singing in the Forest (林中的小鸟在歌唱) 2:45

Track 25 Why Am I So Happy? (我为什么这样快乐?) 2:57

Track 27 A Young Girl’s Heart (阿妹的心) 3:44

Track 29 The Merry Heart (欢乐的心) 5:22

Total time 68:31

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Contents of CD 3

Composer: Shang Deyi (b. 1932)

Track 3 The Motherland Will Be in My Heart Forever (祖国永在我心中) 3:37

Track 5 Do You Forget Me, My Teacher? （老师你可把我忘记?） 3:27

Track 7 I Left My Dear Girl (我离开心爱的姑娘) 3:24

Track 9 The Teacher’s Pride in Students is Soaring (老师的心声在飞翔) 3:21

Track 11 Love Song of the Pastureland (牧场情歌) 3:06

Track 13 A Yearning Song to Mother (缅怀母亲的歌) 3:53

Track 15 (喀喇昆仑) 4:28

Track 17 I Have Been Blind Since Childhood (从小我就是个盲童娃娃) 4:14

Track 19 Night in the Great (大漠之夜) 5:39

Track 21 Teacher, I Always Remember You (老师, 我总是想起你) 3:20

Track 23 I Left My Heart Here (我把心儿留在这里) 4:25

Track 25 Song of the Seaside (海边的歌) 4:18

Track 27 The Wild Goose Has Gone (大雁飞走了) 3:33

Track 29 Song of Farewell (送别之歌) 2:44

Track 31 The Hunchback of Notre Dame (巴黎圣母院的敲钟人) 6:40

Total time 69:40

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Contents of CD 4

Composer: Zheng Qiufeng (b. 1931) and Shang Deyi

Track 3 I Love You, ! (我爱你, 中国!) 4:51

Track 5 of Yearning for One’s Hometown (思乡曲) 2:48

Track 7 Life is So Beautiful (生活是这样美好) 2:46

Track 9 The Petrel Soars into the Sky (高飞的海燕) 3:42

Track 11 A Drilling Girl (石油姑娘) 3:18

Track 13 Walking in Snow (雪域行) 5:30

Track 15 Beautiful Peafowl River (美丽的孔雀河) 4:11

Track 17 I Love the Wintersweet in the Garden (我爱梅园梅) 4:12

Track 19 Spring, From Vocal Divertimento ‘The Four Seasons

of the Motherland’ (春 – 声乐套曲‘祖国四季’) 5:22

Track 21 Summer, The Sea Mew Has Flown Back (夏, 海欧飞来了) 3:04

Track 23 Autumn, Pamir, How Beautiful My Hometown Is!

(秋 – 帕米尔, 我的家乡多么美！) 4:30

Track 25 Winter, Oh, My Motherland! (冬 – 啊我的祖国!) 5:42

Track 27 Love of the Great North-West (大西北之恋) 5:11

Track 29 Madam Xiang Lin (祥林嫂) 6:04

Total time 69:57

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Part B: Exegesis

1

Introduction

This study investigates of Chinese contemporary art songs, their singing techniques and interpretation. It presents the recorded performance of 56 Chinese contemporary art songs written between 1979 and 2010 by four leading Chinese composers of the genre: Shi Guangnan (1940–1990), Lu Zaiyi (b. 1943), Shang Deyi (b. 1932), and Zheng Qiufeng (b. 1931). These songs are rarely heard on Western stages even though the China International Vocal Competition1 involving international participants requires that a Chinese contemporary art song be sung at the second stage. By presenting recordings of the songs in original Mandarin with accompanying English commentary, 2 this performance-based study offers a model for the presentation of this repertoire to an English-speaking audience or other audiences unfamiliar with the genre.

The research pursues three areas of enquiry that together inform the performance of the repertoire:

1. The historical, social and artistic context in which the Chinese contemporary art song has evolved to its present form. 2. Analysis of the repertoire in order to improve understanding of its lyric content, musical features and singing styles for more effective performance. 3. The performance practice and interpretation of the repertoire, focusing on how the composers’ intentions are best identified and conveyed through performance.

The process has involved extensive literature and CD reviews both from English and Chinese sources. Consultations, emails, interviews and discussions with composers of the repertoire presented here as well as with voice teachers and singers who are specialists in Chinese contemporary art song were conducted during the study.3 Scores were obtained from libraries in China, book shops in Beijing, internet book shops and publishers. Three songs Early Winter; The Young Girl’s Heart by Shi Guangnan, Walking in Snow by Zheng Qiufeng were only available with main melody and no piano arrangement. Stephen Whittington composed arrangements for these songs.

1 This competition was established in 2000 and is now one of the major international music competitions in China. It is organized under the auspices of the Ministry of Culture of the People’s Republic of China. It is held every three years and attracts on average two hundred singers from more than twenty countries around the world. The competition has three rounds; singers who proceed to the second stage are required to sing a Chinese contemporary art song. 2 The commentary draws on information from published sources, the researcher’s translation of the song text and highlights key music characteristics of the song. 3 This study was conducted with the approval of The University of Adelaide Research Ethics Committee (Ethics Approval Number H-2014-184).

2

The performance of the repertoire presented in the four CDs in the portfolio also draws on the experience of this researcher who has sung this art form over more than 20 years. Importantly, the recordings document the outcomes of the study and the challenge was to complete high- quality recordings for the large number of songs within a limited time and budget. Close analysis of the repertoire was also undertaken. The performance of Chinese contemporary art song covers many aspects of performance practice. Presentation of the full details of the 56 songs selected for performance is beyond the scope of this exegesis. Four case studies have therefore been chosen for their high aesthetic standard of the lyrics, to show the nationalism so representative of the composers and provide examples of staging techniques. They demonstrate the overall approach taken by this researcher and provide guidance for future performers on how to approach their own performances of Chinese contemporary art song.

The four selected composers

The works of Shi, Lu, Shang and Zheng in the portfolio present the highest artistic realization of the contemporary art song genre in China. The four composers began to employ complex techniques in their compositions during the post-revolution period after 1976. These compositions have great significance in the development of the genre because they demanded expanded vocal technique and reflected the changing spirit of Chinese citizens.

The careers of the composers highlight their reputation and contribution to the genre. Shi was the Vice Chairman of the Committee of the Chinese Musicians’ Association and was named ‘People’s Musician’ by the Culture Department of the Central Government. He graduated from Tianjin Conservatory of Music with a major in composition. Shi died in May 1990, having written more than one thousand songs, many of which are still very popular in China. Lu is currently Chairman of the Committee of the Musicians’ Association and is recognized as a ‘musical poet’. He graduated from Shanghai Conservatory of Music with a major in composition. Shang graduated from Beijing Normal University. He is the Professor of Composition of University of Arts in Liaoning Province. Since 1998 he has concurrently been a Professor at the Northwest Minzu University in , Province. He was the first person to publish a collection of coloratura art songs which contains eight songs.4 Zheng was the Chairman of the Committee of the Musicians’ Association of Province and the Vice President of the Soldier Performance Troupe of Guangzhou Military Command. He graduated from Central Conservatory of Music with a major in composition. Some art songs

4 Shang Deyi, Joy of Torch Festival: Shang De ’s Eight Coloratura Art Songs (Beijing: People’s Music Publishing House, 1982). 3 from these four outstanding composers have won the National Gold Clock Prize and their songs appear in the teaching syllabus of Chinese tertiary music educational institutions.

Literature Review including publications and commercial CDs

There is an emerging body of research on Chinese contemporary art song that discuss aspects of singing or teaching Chinese art song from common perspectives such as the combination of lyrics and music, singing style, and expression of emotion. In a valuable study by Guo and Jia5, Viewpoints on Singing Chinese Art Songs6 balancing the relationship between tone of voice and emotion, and the importance of pronunciation of the is discussed. In the last section of their article, they explore how to employ the Chinese traditional expressive approach when singing Chinese art songs. There are also articles that focus on how to sing art songs by other composers, or by the same composers but only focusing a few songs. For example: The Strategy of Singing ‘I Live at The Source of The River’ by Qing ,7 A Study of Singing Lu Zaiyi’s Art Song, 8 Singing Analysis of ‘Four Seasons of Motherland - Vocal Divertimento’ by Zheng Qiufeng. 9 However no literature has been identified that directly addresses the performance of the 56 art songs that are the focus of this study. Importantly, no sources discuss the issues for the performer of details of interpretation not noted in the scores, especially those practices associated with the pronunciation of the Chinese four tones. This study therefore seeks to address this critical aspect of performing Chinese contemporary art song.

While some songs by these four composers are very popular and are still performed in live , TV shows and voice competitions, the CD market for art songs is still limited. Moreover, art song CDs from these four composers are not mass produced in China and the majority of their art songs have never been recorded, especially those by the three prolific composers Shi, Shang and Zheng. For example, Shi wrote more than one thousand songs, but no more than twenty were recorded and published. Songs written especially for the famous mezzo soparano, Mucun, and three CDs containing fourteen songs by Shi were published with different titles by different recording companies, which can cause confusion for the

5 In this exegesis, Chinese names are presented in the order of family name followed by given name. 6 Guo Biao and Jia Guoyu, “Viewpoints on Singing Chinese Art Songs,” Journal of Shanghai Normal University no. 2 (1992): 135–140. 7 Jing, “The Strategy of Singing I Live at the Source of the Yangtze River”, Journal of Gansu Lianhe University Vol. 26, No. 4 (2010): 62. 8 Zhou , “A Study of Singing Lu Zaiyi’s Art Song” (DMA diss., Normal University at , 2005), 3-63, accessed November 5, 2013, http://cdmd.cnki.com.cn/Article/CDMD-10542-2005112899.htm. 9 Peng , “Singing Analysis Four Seasons of the Motherland of Vocal Divertimento by Zheng Qiufen” (DMA diss., Normal University at , 2010), 3-93, accessed May 29, 2014, http://www.doc88.com/p- 6137320286187.html. 4 performer coming to the repertoire for the first time.10 By comparison, Zheng created more than 250 songs, but there are only three CDs of his art songs (with two voice solo works, Volume Two and Volume Three) which were published with 38 songs in 200211. Lu has one CD published as a complimentary disc included in his Art Song Collection for demonstration purposes.12 Finally, Shang’s Art Song Collection13 (two books with fourty-three songs) with a complimentary CD which included nine songs.14 (In fact the CD only includes eight songs, as the song – Madam Xiang Lin has two versions; one is a short version for voice competition, the other a complete, longer version). The songs on the CD are not a high quality conmmercial production, but transferred from recordings of competitions where contestants sang his works.

Characteristics of Chinese contemporary art song by the four composers

Each composer has his own aesthetic sensibility which influences their compositions, especially in works for voice. This section highlights three common characteristics in the songs identified during the research investigation while the individual character of the four composers’ art songs is discussed in Chapter 4.

Choice of theme: The choice of lyrics for art songs is critical in establishing the character of the song. The four composers, for example, focus on a range of patriotic subjects: their motherland, nationally significant events, landscapes and their hometowns. They have created numerous songs of patriotism, yearning for one’s hometown, love of the landscape, and a desire for the reunion of mainland China and Taiwan during the period 1979 to 1989. Why do many Chinese composers write so many patriotic songs whereas Western composers rarely choose this kind of theme? The answer is the social relevance of music. Confucian tradition regards music as a moral force to encourage people’s behaviour in society. Confucius said that

10 Shi Guangnan, Ripe Grapes in Turpan – Collection of Shi Guangnan’s Works, Shanghai Recording and Video Company Press ISBN: CN040541400, 2005, compact disc. The fourteen songs are: Ripe Grapes in Turpan; Blue Dream; If You Know Me; in the Moon; The Ballad of Angelica in Taiwan; Beating , Singing a Song; Charming Tibet; The Horse Bell is Ringing; Oh, Eagle Flute; The Place the Peafowl is Looking For; How Beautiful the Campus is; The Young Girl’s Heart and Celebration Song. 11 Zheng Qiufeng, Zheng Qiu Feng Music Work Chooses, [Sic] Solo Voice Volume Two. China Recording Company, Guangzhou ISRC CN-F 13-02-380-00, 2002, compact disc. Zheng Qiufeng, Zheng Qiu Feng Music Work Chooses, [Sic] Solo Voice Volume Three. China Recording Company, Guangzhou ISRC CN-F 13-02-382- 00, 2002, compact disc. 12 Lu Zaiyi, I Love This Land - Collection of Lu Zaiyi’s Art Song, Shanghai Music Publishing House and Shanghai Audio and Video Compoany of Literature and Art CDO5108-2 ISRC CN-R12-05-405-00/A.J 6, 2005, compact disc. 13Shang Deyi, Collection of Shang Deyi’s New Art Songs, Beijing Huanqiu Publishing House ISRC CN-A64- 070373-00 A J 6, 2008, compact disc. 14 The nine songs are: I Left My Heart Here; We Will See Again; A Yearning Song To Mother; duet We walk on the Path at Dusk; Tibetan Sisters Come and Sing; Ar Q; Madam Xiang Lin (short version); Oh, Lu and Madam Xiang ’ (complete version). 5 music is the best way to change existing habits and customs. 15 Furthermore, the is the only party governing the country; it emphasizes the social and educational function of the arts. Therefore artists feel they have a responsibility to praise the Communist Party and China, this is reflected in the compositions. The composers however have also engaged with themes that draw on human experience of love and friendship.

In this thesis, therefore, the repertoire is organized according to five categories based on common themes in the lyrics. These themes are: patriotic songs; nature songs; narrative songs; love songs; and friendship songs. By organizing the repertoire in this manner, singers and audiences may better understand the characteristics of Chinese contemporary art song and the aesthetic tendencies of each composer by direct comparison of common themes.

Composition techniques: The composers use traditional Western composition techniques for their art songs. Compared to the simplicity of the early period of Chinese art songs, their compositions are more sophisticated and complex, especially in terms of the piano arrangements. This is reflected in some political songs and narrative songs such as I Love This Land by Lu Zaiyi, The Four Seasons of the Motherland by Zheng Qiufeng, The Passionate Land by Shi Guangnan, and The Hunchback of Notre Dame by Shang Deyi.

The high aesthetic standard of the lyrics are also a major consideration for almost all Chinese composers when selecting texts for the art songs. The lyrics of I Love This Land; Poetry of Looking over My Home by Lu Zaiyi, and The Hunchback of Notre Dame and Madam Xiang Lin by Shang Deyi are based on famous poems and novels not only from China, but also from Europe. This is one of reasons some of these songs are chosen as case studies.

When the researcher interviewed the three living composers, each of them emphasized the importance of musical imagery and the influence of Western composition techniques for their music. For example, they employ Western techniques in combination with Chinese pentatonic scales and . Shi is especially good at fusing traditional Chinese musical elements in his art songs as heard in his Lullaby and Tea Song in March. On the other hand, in I Love This Land, Lu uses the Western and recitative style to portray the nuance of emotion. By comparison, Shang embraces Bach’s music to depict the atmosphere of the cathedral in The Hunchback of Notre Dame.

15 From xiao jing [Filial Piety] ‘guang yao dao di 12’ [Elaborating upon ‘the vital way’ 12]. xiao jing is an ancient Confucian ethic and is one of the thirteen rules attributed to Confucius (28, September 551 BC, Lu – 479 BC, Lu) 6

Paying close attention to the connection between music and the character of the Chinese language: There are four tones which are characteristic of the Chinese national language (Mandarin). Their function is to distinguish the meaning of each Chinese word. Lu is a very good exponent of combining music of four tones and lyrics. Although he composed more than thirty songs, Lu chose only eight art songs to be published; in each of the songs he has matched the melody to the four tones perfectly, and matched the tone of speaking. The researcher has performed seven of his art songs for this study16 and discovered that every ornament that he used is necessary, exactly matching the four tones while still enhancing the melody line and flow.

Main Contribution of the Research

The use of ornamentation is very important for performing Chinese art song, especially when considering how to interpret ornamentation to match the four tones of Chinese pronunciation. In some cases, composers rarely write ornaments in their scores, in which case the performer needs to design the use of ornaments to match the four tones of pronunciation, emotion and musical style. There are no systematic studies or articles offering advice to singers on how to interpret the ornamentation. Furthermore, there is a current trend for singers to overuse ornamentation and not comply with the four tones when singing Chinese art song. This study explores where and how to use different kinds of ornament to match the characteristerics of Chinese language, as well as emotion and musical style.

As such, this study fills a gap in the knowledge of Chinese contemporary art song theory and practice.

Organization of the CD recordings

There are four CDs in the portfolio. CD 1 and CD 3 focus on Shi Guangnan and Shang Deyi, respectively. CD 2 presents the works of Lu Zaiyi and Shi Guangnan, and CD 4 includes works by Zheng Qiufeng and Shang Deyi. The full list of contents of each CD is found in Part A. The song texts and their translation are presented in Appendix A while Appendix B contains the text of the English commentary which accompanies each song. Appendix C presents the scores of the repertoire. Finally, Appendix D contains the Ethics approval letter for the research from The University of Adelaide.

16 One of songs is called‘Colored Cloud and Fresh Flower’ is composed for coloratura voice and it was therefore beyond the range of this performer. 7

Structure of the exegesis

This exegesis is divided into four chapters. Chapter 1 presents the historical background of Chinese art song. It includes the definition and a discussion of Chinese contemporary art song. Chapter 2 discusses details of performing Chinese contemporary art song, including singing techniques, art song styles and staging techniques. Chapter 3 describes the main focus of this study: how to interpret the musical elements that are not notated, especially how to use ornamentation to match the four tones of Chinese pronunciation.

Chapter 4 presents four case studies: The Hunchback of Notre Dame by Shang Deyi, I Love This Land by Lu Zaiyi, Lullaby by Shi Guangnan, and Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng. These studies address the research investigation: how to interpret Chinese contemporary art songs with melodramatic musical styles; the characteristics of Chinese contemporary art song; the aesthetics of the lyrics; details of the use of ornamentation to match the four tones; and how singers can adapt folk song vocal techniques into art song performance. Each case study explores the common character of the music and singing techniques, in addition to the individual interpretation of each song. Finally, it should be noted that in this study romanized Chinese is used. In addition, translations of Chinese sources are those of the researcher unless otherwise stated.

8

Chapter 1

Historical context

Any discussion of the history of Chinese art song must be linked to the arrival of European art song in China. European art song was introduced to China at the beginning of the twentieth century by Chinese scholars and musicians who were trained in Western countries and returned to China at that time. Chinese art song thus has a history of more than one hundred years and has been strongly influenced by European culture and music practices. By using Western composition and singing techniques and specific Chinese musical practices to create complex art songs with their own musical character after 1976, Chinese contemporary art song developed into a genre in its own right. This is reflected in different aspects such as: interpretation; singing style; model of accompaniment; and techniques for stage presentation. Art song was accompanied only by piano, or occasionally a few instruments, in the early twentieth century. Now, a chamber ensemble or a large orchestra accompany some art songs. Nevertheless, the early history of singing in China cannot be ignored in this discussion since it lays the foundations for the rise of contemporary art songs. This chapter therefore briefly acknowledges the early history of singing in China and then turns to the development of Chinese art song by reference to three main historical periods. With this knowledge of the historical context, a definition of the Chinese art song can then be presented.

1.1 Historical overview

Early singing traditions

Chinese singing traditions have a long history dating back more than 2300 years. Shijing of the (11 BC to 771 BC) is the earliest collection of (also called the Book of Songs).17 Xiang He and Xiang He Da (synthesis of singing, dance and music) were refined by folk songs in the (206 BC to AD 23) and Tang (AD 618 to 907) dynasties. All of these can be read, chanted or recited. By comparison, in the Song (960 to 1127) and (1271 to 1368) dynasties, Song and Yuan Qu were very popular. Song Ci is a kind of iambic verse with music and Yuan Qu is a freer and more open form of Song Ci. The new song form of Yuan Qu was created when Song Ci did not fit the music.

During the Ming (1368–1644) and Qing (1644–1840) dynasties, Xiao Qu was a song form that developed from many different local folk songs, which were refined to become art song.

17 Hu Shi, About Shijing from Collected Works of Hu Shi, Vol. 4 (Shanghai: Shanghai Commercial Press, 1936), 556–566. 9

Ge was a song which was accompanied by the (7-stringed Chinese zither). It originated in the (206 BC – AD 23) and gradually gained popularity in the . Qin Ge was the crystallization of the integration of poetry with various musical forms. The Chinese traditional singing style in these eras employed a natural tone of voice without falsetto.

Before the establishment of the People’s Republic of China (1900–1949)

After Western art song was introduced in the early twentieth century, Chinese art song developed gradually through the dissemination of Xuetang Yuege (school songs). School songs first emerged in the early 1900s and were very popular for sixteen years.18 The early school song was not a new creation by Chinese scholars; scholars selected original Western melodies for use with Chinese lyrics. Later, a few musicians who taught music in the Tang (public schools) wrote song lyrics for traditional Chinese folk music. Shen Xingong (1870– 1947) and Li Shutong (1880–1942) were two of the musicians who created song texts and melodies for school songs at that time.19

The May Fourth Movement in 1919 spread a wave of new ideology, exploring new knowledge and adapting Western music, especially composition techniques, for Chinese use. The Chinese art song evolved and no longer imitated Western music entirely.20 The most prolific Chinese composers between 1920 and 1949 were Xiao Youmei (1884–1940); Zhao Yuanren (1892– 1982); Zi (1904–1938) and Qing Zhu (1893–1956). Importantly, Qing Zhu’s art song Da Jiang Dong Qu (Yangtze River Flows to the East), which was composed in 1920 in Germany, is regarded as the first Chinese art song; it is a significant symbol of the independent creation of Chinese art songs in Chinese music history.21

Following the development and enhancement of school music education, especially the establishment of professional music schools, people’s expectations of art song grew. Zhao Yuanren, one of the most outstanding composers and linguists, was the first musician to use new Chinese poetry as song lyrics to create many high-quality art songs. He completed his art song collection Xin Shi Ge (The Collection of Songs to New Poetry) and published it in 1928.

18 Liu Ching-chih, A Critical History of New Music in China, trans. Caroline Mason (: Chinese University Press, 2010), 77. 19 Wang Yuhe, “New : Its Development under the Blending of Chinese and Western culture through the First Half of the 20th Century,” Journal of Central Conservatorium no. 2 (1995): 55–63. 20 Haiyan, “A Progeny of Blending Chinese Music and Western Music: An Analysis of Qing Zhu’s Yangtze River Flows into East,” Journal of Tian Conservatorium no. 2 (2004): 26. 21 Hongbin, ‘Exploring Development and Singing of Chinese Art Song during 30 Years of Reforming and Opening in China’ (DMA diss., Normal University at Xia Men, 2008), accessed July 17, 2009, http://d.wanfangdata.com.cn/Thesis_Y1447569.aspx 10

Due to the impact of the May Fourth Movement and importation of Western music, Chinese art song achieved its first peak in popularity and quality. This style of Chinese art song showed greater influence from European art song than later periods.

After the establishment of the People’s Republic of China (1949–1976)

The 1950s was a period when the People’s Republic of China grew vigorously, and many Chinese professional composers engaged with the new era. They composed numerous mass songs that reflected Chinese people’s spirits, but art songs reached a low point, although they still kept developing slightly until 1966, when launched the Great Proletarian (1966–1976). This resulted in the stifling and destruction of literature and art. Only political, revolutionary mass songs and choral songs were developed, especially the Yu Lu Ge (a setting of Mao’s Little Red Book) as well as the songs propagating the cult of Chairman Mao.22 The art song genre was criticized and suppressed, and nearly became extinct.

Opening up to the outside world (1976–present)

When the Chinese government commenced its policy of reforming and opening up to the outside world after 1976, literary and musical circles had greater freedom to choose their repertoire and there were increasingly more opportunities for the composers and performers of Chinese art song. This was the beginning of Chinese contemporary art song’s second peak of popularity.The leading composers of this time are Shi Guangnan (1940–1990); Lu Zaiyi (b. 1943); Shang Deyi (b. 1932) and Zheng Qiufeng (b. 1931) who are the subject of this investigation.

1.2 Definitions of Chinese contemporary art song

In China, definitions of Chinese art song (zhongguo yishu gequ – 中国艺术歌曲) fall into four main categories, which embrace the narrow, broad, unlimited and undefined sense of the term.

Narrow sense

Studies by Lu Zaiyi and Zhao Jinghua have shown that Chinese art song is a special vocal form. It is a solo song which fuses music and high-quality poetry and is accompanied by piano.23 They note that a Chinese art song should have at least four characteristics:

22 Liang Maochun, Collection of Dissertation on Chinese Art Songs (Shanghai: Shanghai Music Publishing House, 2009), 141. 23 Peng Genfa, “Thinking of the Definition of the Chinese Contemporary Art Songs,” Journal of People’s Music no. 9 (2007): 9. 11

• It expresses personal feelings.24 • The lyrics are a very musical and highly literary poem; often lyrics from famous poets are used. • It is written especially for a specific type of voice. • It uses sophisticated techniques of composition for the piano accompaniment, combining with the voice to express the music.25

The above definition is similar to European art song, to the extent that scholars such as Peng Genfa and Li Haizi have called this the ‘typical definition of European art song’.26

Broad sense

Peng Genfa’s definition by contrast is much broader than the first category. It allows the inclusion of adapted folk songs and some popular songs.27 Peng’s motivation is to widen the scope of repertoire that can be included under the definition of Chinese art song. Genfa, the Chairman of the Musicians’ Association in Gansu Province and chief editor of the journal Young Performer, suggests using both the ‘narrow and broad definition of art song’. He respects the definition of European art song and its aesthetic standard in which art song is ‘opposed to a folk song’, but argues that folk songs which have been adapted by professional composers with independent accompaniment should also be included in the scope of Chinese art song.28 Furthermore some popular songs can be defined as Chinese art song, provided that the lyrics are poetic with profound themes and aesthetic references and have an accompaniment independently supporting the music, text and voice.

Undefined sense

According to , an authoritative musicologist, the generally accepted definitions of Chinese art song are not exactly right. Chinese art song is a historical concept that is not appropriate for contemporary application. Rather, he believes that the term ‘creative song’ is more appropriate than ‘art song’.29 Another scholar, Mingjian, deduced from a survey of over twenty participants of their understanding of Chinese art song, that nearly all were

24 Lu Zaiyi, My Opinion on Creation of Chinese Art Songs (Shanghai: Shanghai Music Publishing House, 2009), 2. 25 Zhao Jinghua, To Examine Chinese Art Song through the Definition of Art Songs (Shanghai: Shanghai Music Publishing House, 2009), 34. 26 Li Huaizi, Vice Chancellor and Professor of Conservatorium of Music, Northwest Minzu University, Landzhou of Gansu Province. 27 Peng Genfa, Collection of Dissertations on Chinese Art Songs (Shanghai: Shanghai Music Publishing House, 2009), 8. 28 Peng Genfa, 10. Peng Gengfa was citing The New Harvard Dictionary of Music. 29 Interview, Beijing, 21 September 2014. 12 unfamiliar with what Chinese art song is. Yang thinks that defining a song as an ‘art song’ distances it from the music.30

Unlimited sense

In the anthology New Works of Chinese Art Songs, Chinese art songs are defined as including all creative songs, film, TV songs and folk songs in which

• The content promotes good values. • The lyrics are beautiful and tasteful. • They are suitable for singing, and require vocal production in accordance with scientific principles.31

This brings together songs of ordinary people, film songs, choral songs, folk songs and other songs contained in a wide range of collections from different provinces. Such a broad definition has caused serious confusion for the general public in terms of ideology, theory and practice. Many scholars, such as Liu Yifeng, Lu Zaiyi and myself, disagree with this definition, as it is too broad to be useful.32 Thus, for the purposes of this study, the narrow and broad definitions of Chinese art song are employed.

30 Yang Mingjian, Collection of Dissertations on Chinese Art Songs (Shanghai: Shanghai Music Publishing House, 2009), 46. 31 Chinese Musician’s Association, New Works of Chinese Art Songs (Beijing: Chinese Musician’s Association Publishing House, 2000). 32 Liu Yifeng, Collection of Dissertations on Chinese Art Songs (Shanghai: Shanghai Music Publishing House, 2009), 27. 13

Chapter 2

Performing Chinese contemporary art song

This chapter addresses each aspect of performing Chinese contemporary art song: singing techniques, singing styles, staging techniques, and especially articulating Chinese pronunciation when adapting songs in the Chinese national singing style. It aims to provide key knowledge of performance practices that can be applied to Chinese art song repertoire investigated in this study and to Chinese art songs more generally.

2.1 Singing Chinese contemporary art song

In China, singers embrace traditions of European bel canto for singing Chinese art song. As mentioned before, Chinese traditional singing used the natural voice. It was difficult for the natural voice to achieve high notes and was too demanding for a main role of the opera to complete the singing in the opera or even the long pieces of the songs that are not from opera. However, the bel canto style and techniques are more flexible, mixing the natural voice and falsetto; it is easier to project at high registers. Toft defines the main features of the bel canto style:

• prosodic singing (use of accent and emphasis) • matching the register and tonal quality of the voice to the emotional content of the words • highly articulated manner of phrasing based on the insertion of grammatical and rhetorical pauses • delivery varied by several types of and • liberal application of more than one type of portamento33

Chinese singers enjoy and accept the bel canto style in their practice. Furthermore, the bel canto style and techniques are taught in all professional music schools. 34 Chinese singers employ bel canto techniques for the performace of Chinese art song.

There are four categories of vocal style in China based on the method and characteristics of singing: bel canto (classical singing); Chinese national singing (combination of bel canto and Chinese folk influence)35; popular song singing; and ethnic folk song singing.

33 Robert Toft, Bel Canto: A Performer’s Guide (New York: Oxford University Press, 2013), 73–92. 34 This can be seen on the website of each professional music school. 14

2.2 Vocal techniques for performing Chinese contemporary art song

Chinese singers embrace all European bel canto singing techniques and theory for singing Chinese art song, but their delivery style is slightly different to the European bel canto style due to the characteristics of the Chinese language. This section describes the key techniques and how they are used. It then describes key presentation techniques for staging the songs. These techniques are critical to the delivery of the repertoire presented in this study.

Breathing techniques

Breathing is the basic function of singing. Many vocalists emphasize the importance of respiration. Manuel Garcia thought that: ‘No person can ever become accomplished singers, until they possess an entire control over the breath – the very element of sound.’36

The correct breathing method enables the to produce twice the result with half the effort. Diaphragmatic breathing is regarded in the profession as the best method of respiration for singing. Giovanni B. Lamperti (1839–1910) wrote:

The mode of breathing required for artistic singing is diaphragmatic breathing. It is the sole method by which a singer can conduct sufficient air tranquilly, and with a minimum of exertion, from the lungs to the vocal organs.37

More than a century later, this is still accepted practice. This technique is similar to the Chinese technique called: ‘dan tian zhi ’, 38 a deep breath controlled by the diaphragm.

Having a correct method of breathing alone is not enough; all singers also must consider where breaths will be taken not only at the start of the song but also during the performance. It is important to control the breath at the beginning of a song; keeping the diaphragm low, the chest is slowly inflated and kept stable without jerkiness. When the lungs are at full liberty to expand, and become completely filled with air, they can fully support the musical phrase. Many singers cannot complete a whole phrase with one breath because they have a jerky action (push the air ponderously) at the beginning of singing.

35 During the 1980s, Jin Tielin, who was the president and a professor at the China Conservatory, built up a set of teaching approaches which combine the bel canto techniques with folksong singing. The name ‘Chinese national singing’ was recognized by the Central Government in 1983. Refer to Duosi, ‘Report of Chinese National Singing Establishment,’ Lao Ren (Elder People’s Newspaper), April 3, 2013. 36 Manuel Garcia, Art of Singing (Boston: Oliver Ditson Company, 1847), 10. 37 G. B. Lamperti, The Techniques of Bel Canto (New York: G. Schirmer, 1905), 5. 38 丹田之气. 15

It is better to balance one’s breathing so that the breath is neither insufficient, nor excessive; rigid breathing makes vocal production difficult. Exhalation must be complete to insure the singer can inhale in time.

Usually breathing follows the musical phrase; however, sometimes singers use special breathing techniques in a phrase, for example ‘stealing a breath’ (tou qi: 偷气) and ‘robbing a breath’ （qiang qi: 抢气). ‘Stealing a breath’ is a breathing method involving no sound during the pronunciation process. It is a very short, light, quick breath taken during a long musical phrase sung at a fast . It uses both the nose and mouth to inhale at the same time. The glottis should be opened rather wide to prevent the sound of breathing becoming audible.

‘Robbing a breath’ is another air supply method but with an audible breathing sound. It is used in music with strong emotion and fast tempo. It is a fast breath but the amount of air is more than in ‘stealing a breath’, especially when it is used before a sentence. The glottis does not need to be opened wide because it is not silent.

Another example of a breathing technique is when the sound stops while the breath is held for emotional purposes.

For details of how to use proper breathing control, please to refer the case studies in Chapter 4.

Resonating cavities and vibrato techniques

According to the location of the cavity, there are five kinds of resonance in singing: head resonance, nasal resonance, oral resonance, pharyngeal resonance and chest resonance. It is easier to achieve a great volume and a beautiful voice if the singer uses the appropriate resonant cavities. Usually, European art song or operatic singing uses a mix of resonances. Giovanni B. Lamperti (1839–1910) described this point: ‘a beauty and power of tone depend, not simply upon a correct tone-attack, but also on the resonance of the voice both in chest and head.’39

Furthermore, sopranos and tenors use head resonance more; mezzos and baritones apply chest resonance more. Compared to European bel canto resonant techniques, the singing of Chinese art song is more complex, varying according to the individual singing style. Different vocal styles stress different resonant cavities and vibrato. For example, the light classical vocal style, which is one of the main singing styles for Chinese art song, uses head and oral resonance because of the characteristics of the Chinese language. It is difficult to produce frontal

39 G. B. Lamperti, The Techniques of Bel Canto (New York: G. Schirmer, 1905), 10. 16 consonants clearly if using both chest and head resonance. This also is why light classical and Chinese national singing styles use less vibrato. Oral, nasal and chest resonances are used in the Chinese national singing style, and head, pharyngeal and chest resonances support the light operatic vocal style.

Articulation techniques

Accurate pronunciation is an important singing technique. Many famous vocalists lay emphasis on specific articulation. The great Italian vocalist and composer Giulio Caccini in the sixteenth century advocated in his book that the word comes first; the is second and finally is the voice.40

Manuel Garcia thought that correct singing method and clear pronunciation are two basic functions which singers should have. Furthermore, Garcia thought these two basic functions could exist at the same time.41 The pronunciation of Mandarin is more complex than European languages. Modern pronunciation includes four aspects: the four tones of Chinese pronunciation: si – 四声42; the four shapes of the mouth: si hu – 四呼43; the five acting points of the mouth: wu yin – 五音44 and the thirteen rhymes: shi san zhe – 十三辙.45 They are shown in Tables 1 to 4.

40 Giulio Caccini, The New Music (1602), quoted in Li Lanzong, Exploring the Early Italian Bel Canto Theory (Beijing: People’s Music Publishing House, 1983), 82. 41 Manuel Garcia, Art of Singing (Boston: Oliver Ditson Company, 1847), quoted in Li Lanzong, Exploring the Early Italian Bel Canto Theory (Beijing: People’s Music Publishing House, 1983), 92. 42 Research Department, Central Drama College, Basic Technique of Staging Language – Collection of Teaching Material (Beijing: Research Department of Central Drama College, 1982), 18. 43 Research Department, 35. 44 Research Department, 28. 45 Jiang Jiaxiang, Exploration of Chinese National Singing Method (Beijing: People’s Music Publishing House, 1983), 105, 106. 17

Table 1: Four tones of Chinese pronunciation: si sheng 四声

Name Symbol and tones The main function

yin ping 阴平 ā：The first tone The four tones mean the changes (high or low) in each syllable. The main yang ping 阳平 á：The second tone function is to distinguish the meaning of each word. Some Chinese words shang sheng 上声 ă：The third tone have the same pronunciation, but if the tone is different, then the meaning of qu sheng 去声 à：The fourth tone the word is different.

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It is important to maintain the correct shape of the external part of the mouth through the word or syllable after it has been sounded.

Table 2: Four shapes of the mouth and strength: si hu 四呼

Name Shape of mouth and strength

kai: 开 The mouth is opened and the strength is with the throat.

qi: 齐 The mouth is parallel with teeth; the strength is on the teeth.

cuo: 撮 To get two lips together, the strength is on the lips.

he: 合 The mouth is closed; the strength is on the whole mouth.

The five acting points of the mouth are the position of the five initial consonants when the sound of a word is produced to block the airflow inside of the mouth.

Table 3: Five acting points of the mouth: wu yin 五音

Acting points of the Model of phonetic Name mouth alphabet

chun 唇 Lips b, p, m and f

she 舌 Tongue d, t, n and i

chi 齿 Tooth edge zh, ch, sh, z, c and s

ya 牙 Teeth j, q and x

e 颚 或 hou 喉 Jaw or larynx g, k and h

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The thirteen rhymes are the method of rhyming the final syllables.

Table 4: The thirteen rhymes: shi san zhe 十三辙

Type of Name The character of pronunciation pronunciation

yi qi 一七 Single syllable The shape of the mouth does not fa 发花 Single syllable change when a syllable is produced. It is the same as the Italian vowels a gu su 姑苏 Single syllable and i. xie 也斜 Single syllable

zhong dong 中东 Nasal When holding a long note with a jiang yang 江阳 Nasal nasal sound, it needs to go into the nasal cavity when a word runs to the ren chen 人辰 Nasal end. The shape of the mouth is changed slightly. yan qian 言前 Nasal

Disyllabic or huai lai 怀来 polysyllabic word

hui dui 灰堆 Disyllabic The shape of the mouth is changed you qiu 油求 Disyllabic completely when a word is formed in the oral cavity. yao tiao 遥条 Disyllabic

suo bo 梭波 Disyllabic

The four shapes of the mouth, the five acting points of the mouth and the thirteen rhymes are the principles of articulation and enunciation that all singers must follow. Their application is discussed in the next section.

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How to articulate each Chinese word

A Chinese syllable is formed by an initial consonant and simple or compound vowels. Each Chinese word has three parts: head, body, and tail. To ensure correct pronunciation, singers have to articulate the head of the word (initial consonant) correctly, develop the body of the word (simple or compound vowel), and draw the correct rhyme in the tail of the word. Guo Biao, voice professor at Shanghai Conservatory, points out that articulating the head of the word correctly and distinctly not only makes the sound clear but also can produce a sound of concentrated brightness and high resilience. When the sound position of the head of the word and the action of the mouth are correct, then, in an instant of connection, the singer must open the throat immediately and use the resonance belonging to the sound of the word, quickly connecting the body of the word to the resonant cavity.46

Singers of European art song emphasize the beauty of the voice and balancing each resonant cavity. However, singing Chinese art song requires careful articulation, especially when singers sing in the Chinese national style. If a singer only has a beautiful voice but cannot produce each word clearly, the audience will not understand what the singer is singing; consequently, the singer will fail in performance. People go to a not only to hear beautiful voices but also to learn the contents of the songs. As a result, articulation techniques are more important in vocal Chinese performance. This is a touchstone for testing whether the singing is correct performance practice of Chinese art song.

Singing Chinese contemporary art song is based on the bel canto singing method combined with the character of the Chinese language to form a special singing approach for Chinese art song – the light classical singing style. Of course, singers can use different musical styles for Chinese art song, but almost all Chinese art songs are sung with the light classical singing approach. This is because of the complex articulation techniques of the Chinese language.

2.3 Various vocal styles for performing Chinese contemporary art song

It is important to employ the correct vocal style to match the correct musical style. Some composers write art songs especially for mezzo-soprano, tenor, or other voices, while some art songs are suitable for singers who are good at singing in the Chinese national style. Other composers have no requirement for the singers, but singers need to consider which singing

46 Guo Biao and Jia Guoyu, ‘Viewpoints on Singing Chinese Art Songs,’ Journal of Shanghai Normal University no. 2 (1992): 138. 21 style is suitable for their voice, and to ensure that the singing style is correct for the musical style, and is in concordance with the lyrics as well. This section discusses four different vocal styles applicable to the selected repertoire. This will help singers understand the various vocal styles for performing Chinese contemporary art song.

Classical singing style: This is the first choice for singing themes that relate to political issues, patriotic songs and serious topics. It also is suitable for the repertoire written with sophisticated composition techniques or an art song written for a special event. Examples are Celebration Song (Refer CD 1 Track 27) and The Passionate Land (Refer CD 1 Track 23) by Shi Guangnan, Poetry for My Hometown (Refer CD 2 Track 7) and Where is My Home? by Lu Zaiyi (Refer CD 2 Track 13); The Motherland will be in My Heart Forever (Refer CD 3 Track 3) and Night in the Great Desert by Shang Deyi (Refer CD 3 Track 19); I Love You, China! (Refer CD 4 Track 3) and Winter, Oh, My Motherland! By Zheng Qiufeng (Refer CD 4 Track 25).

Light classical singing style: This is one of the main singing approaches for Chinese art song. It is lighter than the classical singing style in tone colour, resonant sound and vibrato, especially in controlling use of each resonance cavity. This singing style uses more head, nasal and oral cavity resonance and pays a more attention to articuiation. The style matches different themes such as love songs Ripe Grapes in Turpan by Shi Guangnan (Refer CD 1 Track 21) and Song of the Seaside by Shang Deyi (Refer CD 3 Track 23); nature songs The Bridge in My Homeland by Lu Zaiyi (Refer CD 2 Track 5); Beautiful Peafowl River by Zheng Qiufeng (Refer CD 4 Track 15); narrative songs I Have Been Blind Since Childhood by Shang Deyi (Refer CD 3 Track 17); Who Knows My Yearning? by Shi Guangnan (Refer CD 1 Track 9); friendship songs Teacher, I Always Remember You by Shang Deyi (Refer CD 3 Track 21); When the Ox-Drum is Beating by Shi Guangnan) (Refer CD 1 Track 3); and even some patriotic songs My Mother, My Motherland by Shi Guangnan (Refer CD 1 Track 5), My Country, My Beloved Mother by Lu Zaiyi (Refer CD 2 Track 3) and Spring from The Four Seasons of the Motherland by Zheng Qiufeng (Refer CD 4 Track 19).

Chinese national singing style: This integrates a bel canto vocal style with the Chinese folk song style. It emphasizes the articulation of the Chinese language rather than vocal resonance. This singing style should be chosen only for music in the Chinese pentatonic scale or showing typical ethnic folk influence. The researcher embraces this singing style for the repertoire Tea Song in March (Refer CD 1 Track 25), Lullaby (Refer CD 1 Track 17), The Younger Girl’s Heart (refer CD 2 Track 27) and The Rainbow After Rain by Shi Guangnan, (Refer CD 2 Track

22

17) The Last Dream by Lu Zaiyi (Refer CD 2 Track 11) and I Love the Wintersweet in the Garden by Zheng Qiufeng (Refer CD 4 Track 17).

Non-Chinese singers might not recognise the singing style as appropriate for art song because the researcher uses a ‘sharp’ tone of voice in keeping with the characteristic vocal production of Chinese national music. As mentioned in Chapter 1, the definition of Chinese art song used by this researcher is the ‘broad sense’, widening the scope of repertoire through a combination of ‘narrow sense’, which is derived from European models, and the ‘broad sense’, which allows for the inclusion of folk elements. Therefore, it is appropriate to include the Chinese national singing style in this research.47

Light operatic singing style: With the development of Chinese contemporary art song after 1976, Chinese Central Television (CCTV) has held a national voice competition every two years for young Chinese singers, with many composers and singers involved in this event. The light classical singing style is not sufficient for powerful vocals. However, the light operatic singing style addresses the need for power of voice and music. This is the culmination of Chinese dramatic influence blending with a Western operatic style. The researcher sings in the light operatic singing style with her own interpretation of the repertoire The Hunchback of Notre Dame; (Refer CD 3 Track 31) Madam Xiang Lin by Shang Deyi (Refer CD 4 Track 29) and I Love This Land by Lu Zaiyi (Refer CD 2 Track 15), which are suitable for the melodramatic musical style.

As a singer should not only possess vocal technique, but also the ability to perform on stage, the final part of Chapter 2 discusses the main points to guide singers when staging Chinese contemporary art song.

2.4 Techniques for staging presentations of Chinese contemporary art song

The musical style should inspire the performing style of Chinese art song on the stage, which may depart from traditional performance practice. This is a developing trend which is likely to shape performance in the future. Each mode of presentation depends on the lyrics, the accompaniment, and may even depend on the performance venue.

Facial expressions only: The great Chinese vocalist Zhao Meibo mentioned in his book Art of Singing that some songs require the singer to concentrate the mind to facilitate imagination and expectation. An excellent singer only needs to use facial expression to express the song and

47 For details of the definition of Chinese art song, please refer to Chapter 1, section 1.2. 23 should avoid using gestures. 48 Facial expressions are suitable for meditating songs and nostalgic songs, for example Lullaby and Begonia Leaves by Shi Guangnan, The Last Dream by Lu Zaiyi, and A Yearning Song to Mother by Shang Deyi (Refer CD 3 Track 13). This presentation form is also suitable for performances in a small concert hall.

Gestures and facial expressions: The proper gestures will help singers to express the passion and emotion of a song to create a warm and inspiring atmosphere, such as in some patriotic songs like I Love You, China! by Zheng Qiufeng, My Motherland Will Be in My Heart Forever by Shang Deyi, My Motherland, My Mother by Shi Guangnan; and in narrative songs The Hunchback of Notre Dame by Shang Deyi, I Love This Land By Lu Zaiyi. This is especially true when singing with a large orchestra.

Dancing and moving on the stage: Any performing forms that can thoroughly express the musical style should be used. For example, in songs which have a lively melody and fast tempo, the singer can dance during the interlude. Choosing only a few typical actions would be enough to sweep the audience along in the merry sentiments (For details about dancing on the stage, refer to the researcher’s case study of Autumn, Pamir, How Beautiful My Hometown Is!).

If a song is dramatic, such as Madam Xiang Lin by Shang Deyi, in which there is one spoken sentence in the middle of the song, the singer can walk around the stage when she implores heaven or talks to herself. This is in response to a dramatic need.

Communicating with the audience or piano accompanist: sometimes the music is in a dramatic style and the lyrics are humorous; if the singer interacts with the piano accompanist, the performance may be very colourful. The singer can also communicate with the audience, especially at an outdoor concert celebrating a big event, but it is better if the singer chooses a popular Chinese art song which the audience knows well so that the singer can ask the audience to clap or sing together. Audiences love being involved in the performance. Some older generation artists might not like this performing form, but this researcher thinks it is a good way to make Chinese art song relatable for ordinary people.

In brief, all singers who want to perform Chinese contemporary art song should have the capability to master the variety of this repertoire and understand its performance practice. This is a challenging requirement.

48 Zhao Meibo, Art of Singing (Shanghai: Shanghai’s Music Publishing House, 1997), 108. 24

Chapter 3

Exploring how to interpret ornamentations

Many composers and singers embrace ornamentation to embellish and enrich the melody: it is an important means of emphasizing the musical style and adding emotional feeling. The use of ornaments is also a special performance technique to reflect a singer’s understanding of the lyrics and provide contrast for repeated phrases. However, if it is overused, the musical effect can be the opposite. For example, in attempting to make a beautiful melody, some Chinese singers and composers use many ornaments, but they ignore the four tones of Chinese pronunciation, and destroy the meaning of the words.

This chapter offers a brief guide to using ornaments and emphasizes the interpretation of ornamentation to match the four tones, and to distinguish the nuances of emotion when performing Chinese art song.

3.1 Types of frequently used ornaments and their use in Chinese contemporary art song

There are many types of ornamentation used in European art song and Chinese folk song, for example trills, turns, , portamento, , acciaccatura and mordents. However, only three ornaments are frequently used in Chinese contemporary art song. They are appoggiatura, mordents and portamento. Appoggiatura includes both single appoggiatura and double appoggiatura. Mordents include both mordents and inverted mordents. Portamento or glissando covers glides, down glides, long slides and short slides. Ornaments are used in Chinese contemporary art song for the following purposes:

To beautify melody by single appoggiatura, double appoggiatura and mordents, especially when holding a long note, or to decorate the melody with additional flourishes the second time. For example, in Who Knows My Yearning? by Shi Guangnan, the lyric ‘a’ is maintained for 9 bars. The researcher uses a mordent in bar 76 to avoid a monotonous sound. It also expresses the torture of a girl who lost her love (see Example 1and CD1 Track 9 05:23).

(a) original score (b) researcher’s interpretation

Example 1: Shi Guangnan, Who Knows My Yearning, bar 76.

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In Song of Farewell, by Shang Deyi, the researcher employs a mordent when singing a long note in the repeat verse to make a contrast and to beautify the melody (see Example 2 and CD 3 Track 29 01:48).

(a) original score (b) researcher’s interpretation

Example 2: Shang Deyi, Song of Farewell, bar 40.

To express nuances of emotion. In The Merry Heart by Shi Guangnan, the researcher uses and a short portamento to indicate a joyful mood (see Example 3 and CD 2 Track 29, bar 38 01:10, bar 43 01:19, bar 75 04:23 04:24).

(a) original score (b) researcher’s interpretation

Example 3: Shi Guangnan, The Merry Heart bars 38, 43 and 75.

All the ornaments are used to express pleasant feelings. In contrast the researcher uses a long downward glissando to reflect sentiments of depression and despair (see Example 16, bar 56 of The Hunchback of Notre Dame).

To emphasize the musical style by portamenti such as a short , glide up or glide down (see Example 4 and CD 2 Track 27 00:37- 00:38 for bar 9 and 00:56 -00:57 for bar 15).

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(a) original score (b) researcher’s interpretation

Example 4: Shi Guangnan, A Young Girl’s Heart, bars 9 and 15.

The researcher also uses portimenti in bars 28 and 30 of The Rainbow After Rain by Shi Guangnan, in keeping with the ethnic folk influence (see Example 5 and CD 2 Track 17 04:35-04:36 for bar 28, 04:46-04:47 for bar 30).

(a) original score (b) researcher’s interpretation

Example 5: Shi Guangnan, The Rainbow After Rain, bars 28 and 30.

3.2 How to use ornamentation to match the four tones of Chinese pronunciation

The four tones distinguish the meaning of each Chinese word (For details of the four tones please refer to Chapter 2, Section 2.2.). Sometimes composers put the ornamentation on the wrong principal note, which entirely destroys the meaning of the word. A good singer should correct these mistakes.

If the words are the first tone: The first tone is a flat tone. It is better to not use any ornaments except padding syllables such as ‘a’ (啊), ‘u’ (呜) and ‘e’ (哎) with a long note, or if it has a special emotional purpose (see Example 6 and CD 4 Track 29, 01:16 for bar 19, 01:38 for bar 24).

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(a) original score (b) researcher’s interpretation

Example 6: Shang Deyi, Madam Xiang Lin, bars 19 and 24.

In example 6, the composer used two single appoggiaturas to beautify the melody but these destroy the meaning of the words (zong 踪; gu 孤) because the two words are the first tone. Therefore, the researcher removes the two appoggiaturas.

If the words are the second or third tone: Use single appoggiatura or double appoggiatura to decorate the second and the third tone, as the pitch of the second tone is rising and the pitch of the third tone is falling, then rising. The direction of the appoggiatura should be from one or more low tones rising to a high principal note (from low to high) (see Example 13 and 14 of Hunchback of Notre Dame by Shang Deyi).

If the words are the fourth tone: Use single appoggiatura or double appoggiatura to embellish the fourth tone because the pitch of the fourth tone is falling, therefore the direction of the appoggiatura must be from a high note falling to a low principal note (see Example 31: Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng).

(a) original score (b) researcher’s interpretation

Example 7: Shang Deyi, Madam Xiang Lin, bars 7 and 9.

In example 7 (CD 4 Track 29 00:30), bars 7 and 9 (CD 4 Track 29 00:39) of Madam Xiang Lin the composer put single rising appoggiaturas on the words lu (路) and bu (步), which do not match the fourth tone. The researcher takes the two appoggiaturas away and leaves the principal note alone.

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Use of articulation (or accent) marks for expressive purposes. The singer must also consider matching the four tones when adding accents (see Example 18, bar 29 of The Hunchback of Notre Dame and Example 8, bar 64, CD 4 Track 29 05:15-05:16 of Madam Xiang Lin’ by Shang Deyi).

From bars 62 to 65 of Madam Xiang Lin the lyrics are iterated twice; the researcher adds two signs in bar 64 to create contrast and to distinguish the nuance of emotion.

(a) original score (above) (b) researcher’s interpretation (below)

Example 8: Shang Deyi, Madam Xiang Lin, bars 62–65.

The use of ornamentation reflects a singer’s artistic accomplishments. Whether the composer writes ornaments in the score, or the singer puts in extra ornamentation, the singer must consider the particularity of the Chinese language – the four tones. This is a critical distinction between singing Chinese contemporary art song and European art song.

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Chapter 4

Four Case Studies

Theory is an abstract concept; however a case study is an example that allows theory relating to the characteristics of music to be applied to specific examples and interpretation of songs, and in the process, provide a detailed analysis of the researcher’s interpretations of the composers’ intentions. The four songs for the case studies are: The Hunchback of Notre Dame by Shang Deyi, I Love This Land by Lu Zaiyi, Lullaby by Shi Guangnan and Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng. The case studies demonstrate the development of Chinese art song in using sophisticated composition techniques (harmony, modality, , and piano arrangement) and adoption of Western compostion techniques for Chinese use. For example, the composer Lu Zayi used Western recitative for his art song I Love This Land; Shang Deyi adapted Bach’s Prelude in C major in The Hunchback of Notre Dame and then combined it with a Chinese melodic line to form the musical image. The selection of these four songs reflects the development of vocal approach and the diversity of singing style for Chinese contemporary art song.

Case studies 1 and 2 focus on the important aspects of dramatic expression, the portrayal of deep emotion in Chinese art song. Case study 3 demonstrates how a singer can perform a song with the Chinese national musical character. Case study 4 presents dancing during the performance. Case studies 1, 2 and 4 also illustrate how to interpret ornamentation to match the four tones of Chinese pronunciation.

4.1 Case study 1: The Hunchback of Notre Dame (巴黎圣母院的敲钟人) by Shang Deyi

Shang Deyi is a productive composer, notable for his profound artistic culture and aesthetic pursuits, who is skilled at writing coloratura-style art song. His magnum opus is In One Thousand Iron Trees in Blossom.49 The music breaks through previous restrictions on artistic creation for the first time to employ the Western coloratura technique. This was an estimable achievement in the context of the early 1970s. The song is recognized as a milestone in the history of Chinese art song. In all, Shang composed 20 more coloratura art songs which are often sung in national voice competitions. The researcher recorded 17 of his songs in this study. His art songs cover a wide range of themes, falling into five categories: patriotic songs like The Motherland Will Be in My Heart Forever; love songs - I Left My Dear Girl; Love song of the Pastureland; Song of the Seaside; Song of the Farewell: nature songs -Love of the Great North-

49 The song describes a touching story of a blind child who could speak after being cured by the military doctors. 30

West; The Night of Desert; friendship songs - Do You Forget Me, My Teacher? Teacher, I Will Always Remember You; The Teacher’s Pride in Students is Soaring; and narrative songs including The Hunchback of Notre Dame; Madam Xiang Lin and I Have Been Blind Since Childhood. Shang Deyi regards the work Madam Xiang Lin as a companion piece to his setting of The Hunchback of Notre Dame because both share a literary origin: Madam Xiang Lin is based on the novel Zhu (祝福) by the famous Chinese writer .50 The musical style of these two songs leads to a new form incorporating Western operatic style into the Chinese art song genre.

The Hunchback of Notre Dame by Sheng Deyi was composed in 1992. It is based on Victor Hugo’s novel of the same name, and the lyrics are by Zhi .51 It was the first time Shang had used a story by a European author. The song praises truth, kindness and beauty as well as the pure love between Quasimodo, a deformed hunchback who is the bell-ringer of Notre Dame cathedral, and a beautiful Roma girl, Esmeralda. (Refer CD 3 Track31)

Shang Deyi loves using Chinese national musical elements for his works. When asked how to incorporate Western music in his compositions he said: The art song originated from European countries, its aesthetic conception is very high and it is valuable for Chinese use, but it has to combine with Chinese national musical elements and tradition, so that it is easier for Chinese audiences to accept. The Chinese traditional aesthetic concept is a melodic way of thinking; therefore I always regard the beauty of melody as the first consideration.52

Numerous scholars53 include the research have asked Shang Deyi to explain his criteria for choosing art song lyrics, and why he chose Victor Hugo’s work The Hunchback of Notre Dame as the basis of his composition. During the researcher’s interview with him, he said that ‘Great literature has no national boundaries. The lyrics that I choose must be true, beautiful, of high aesthetic concept, positive, and able to express the thoughts of humanitarianism which will be transmitted from generation to generation.’ This character is also reflected in his art song Madam Xiang Lin.

50 Lu Xun – 鲁迅 (1881-1936), Chinese litterateur. (祝福) is one of his master works. The story describes a scholar who witnessed Madam Xiang Lin’s tragic death when he returned to his uncle Lu Si’s hometown for the ‘Zhu Fu’ Ceremony (a ceremony praying for good luck for the next year). Madam Xiang Lin once served at Lu Si’s home as a servant. 51 Zhi Tong (1938–) was born in Harbin in Heilongjiang Province, China. He is a composer and poet. 52 Interview with Shang Deyi, , Liaoning Province, China, 26 September 2014. 53 Liu Shenwu – Lyrist and Chairman of Branch of Music and Literature of Musicians Association, Ji Lin province. Sai Yin, an associate professor at the Conservatory of North-Western National University in Lanzhou, Gansu Province. Zou Shuzhen is an associate professor of voice at the Conservatory of North-Western National University in Lanzhou, Gansu Province. 31

The song: An overview

The Hunchback of Notre Dame is in binary form with an ending passage. This section will discuss the three musical themes in the song – the church bell, Quasimodo’s theme and the main theme – then consider the song’s characteristics and how it should be interpreted by singers.

Three musical themes: They show the character of the piano arrangement and the musical images of the song.

Church bells: The composer uses heavy chords in the piano’s low register to represent bell sounds (see Example 9: first two bars). The composer marks the initial chords ‘sff’, expressing the power of the church bell, but also ominously hinting at Quasimodo’s tragic fate.

Example 9: Shang Deyi, The Hunchback of Notre-Dame, bars 1-9. Shang Deyi, Collection of Solo Art Songs (Beijing: Le Hua Publishing House, 1998), 27.

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Quasimodo’s theme: This theme depicts Quasimodo’s mental anguish over gaining Esmeralda’s love (see Example 9, bars 3–9).

Main theme: This theme recurs throughout the main part of the song. It consists of arpeggiated chords based on the figuration of the C Major Prelude from Bach’s Well-Tempered Clavier but transformed here by Shang Deyi to a minor key (see Example 10, bars 10–22 and Example 11).

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Example 10: Shang Deyi, The Hunchback of Notre Dame, bars 8-23. Shang Deyi, Collection of Solo Art Songs (Beijing: Le Hua Publishing House, 1998), 27.

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Example 11: J.S. Bach, Prelude in C major, BWV 846. Bar 1-5. J. S. Bach, Forty-eight preludes and fugues (: Royal Schools of Music, 1924), 24.

Characteristics of the song

Two distinct musical images: Through the introduction, the composer evokes two musical images to heighten the artistic effect. One is the sound of church bells (see again Example 9, first two bars), and another is a syncopated rhythm to indicate Quasimodo’s limp (see again Example 9, bars 7–9, piano part in the right hand.)

Combination of Chinese and European music: It is typical of Shang Deyi’s composition style to combine different music styles such as the references to Bach’s music shown in Example 11, but transformed to a minor key to create the atmosphere of Notre Dame Cathedral.

Focus on the beauty of melody: Chinese composers are always deeply concerned with the beauty of melody. This has historical origins. Chinese music was monophonic before Western harmony was introduced to China. Story-tellers of olden times, playing san xian (a Chinese instrument), would perform in tea houses; if the melody was not beautiful, people would lose interest. As a result, beautiful melody is the soul of any musical form for Chinese composers. The melody line of The Hunchback of Notre Dame proceeds in sweeping waves, passionate and beautiful through to the end.

Ornamentation reflecting the four tones and mood: composers also employ ornamention not only for matching the tone of a word, but also, the overall meaning of the sentence – its emotional content – must be considered. For example, Shang uses mordents to express the Chinese words ji fen (激愤) – the meaning of the two words is ‘indignation’ – but if an appoggiatura had been used, no matter whether it goes up or goes down, for the first word ji, it would not match the tone, because ji is the first (level) tone. However, Shang uses a rising and falling mordent, directly connecting to the fourth tone word fen, which exactly expresses the 35 mood: the heart fluctuations corresponding to Quasimodo’s anguish. Another mordent is used at the words shen hun (神魂 – mind and soul) as these two words are the second tone. The meaning of Chinese words - qian ren shen hun – is a state of mind induced by some cause. The use of the mordents not only matches the tone, but also matches Quasimodo’s mood of anguish and depression (see below Example 17, bar 27, and bar 31).

Melodramatic melodic line stylized through the harmony: The composer uses diminished and dominant harmonies. He uses the diminished seventh to imitate the bells of Notre Dame Cathedral and to create a tense atmosphere (see Example 12). The composer also uses the secondary dominant chord with ‘sff’ for eight bars to express the cruel reality and the people’s revolt against tyranny (see also Example 17 below, bar 31).

Example 12: Shang Deyi, The Hunchback of Notre Dame, bars 24-26. Shang Deyi, Collection of Solo Art Songs (Beijing: Le Hua Publishing House, 1998), 29.

Interpretation and artistic singing approach

Singing style: The song is sung in a light Italian operatic style, as it suits the dramatic nature of the music and story.

The use of extra ornaments and portamenti in this song: Any extra ornaments that the singer wishes to use must match the four tones of Chinese pronunciation. For example, the researcher puts an extra appoggiatura on the first note of bar 11 to correspond to the pronunciation of the words fa guo (France) as they use the third tone; the pitch goes down and up (see Example 13 and CD 3 Track 31 00:38). Also in bar 11 the researcher replaces a quaver with a crotchet to match the character of the language. (The original rhythm broke the sentence.) The researcher adds a double appoggiatura in bar 15 to match the pronunciation of the third tone (see Example 14 and CD 3 Track 31 00:55).

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(a) original score (b) researcher’s interpretation

Example 13: Shang Deyi, The Hunchback of Notre Dame, bar 11.

(a) original score (b) researcher’s interpretation

Example 14: Shang Deyi, The Hunchback of Notre Dame, bar 15.

Using extra ornaments, portamentos or any other musical signs for emotional purposes: On the second beat of bar 29, the researcher places two ‘’ signs on the notes with a ritenuto to match the indignant emotion (see Example 15 and CD 3 Track 31 01:43-01:44, bar 29).

Example 15: Shang Deyi, The Hunchback of Notre Dame, bar 29.

An extra glissando is used in bar 56 to express the emotion of hopelessness (see Example 16 and CD 3 Track 31 06:15-06:16).

(a) original score (b) researcher’s interpretation

Example 16: Shang Deyi, The Hunchback of Notre Dame, bar 56.

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Example 17: Shang Deyi, The Hunchback of Notre Dame, bars 27-31. Shang Deyi, Collection of Solo Art Songs (Beijing: Le Hua Publishing House, 1998), 29.

Breath control: In the last notes of bar 27 and 31, a traditional Chinese breathing technique is employed in which the sound stops while the breath is held for emotional effect (see Example 17 and CD 3 Track 31 01:36 for bar 27, 01:52 for bar 31). A special quick inhalation creates the effect of a sob to express the deep sadness in bar 44 (see Example 18 and CD 3 Track 31 04:55).

A crying tone: A unique Chinese traditional ku qiang (哭腔: crying tone) has been used in bar 47 to emphasize Quasimodo’s extreme sorrow (see Example 18 and CD 3 Track 31 05:07).

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Example 18: Shang Deyi, The Hunchback of Notre Dame, bars 44-47. Shang Deyi, Collection of Solo Art Songs (Beijing: Le Hua Publishing House, 1998), 31.

Movement on the stage: In order to focus on the expression of emotion and to narrate the story only a few light expressive gestures and eye contact should be used to convey the emotion; no large movements on stage are required.

Shang Deyi’s composition of The Hunchback of Notre Dame is a good model of the use of Western compositional techniques for Chinese art song to create a strong, melodramatic art song style; the researcher’s inclusion of Chinese national dramatic styles takes the interpretation to a new level.

4.2 Case study 2: I Love This Land (我爱这土地) by Lu Zaiyi

Lu Zaiyi is a representative of perfection in the field of Chinese art song, and his art songs have profound connotations, rich in emotion with a lyrical temperament and beautiful sense of musical tableau. This is reflected in his piano arrangements. For example, in The Bridge in My Homeland (1981), arpeggios in the piano accompaniment depict the ripples of water. At the end of the song, triplet figures portray waves lapping on the surface of a river. In Where is My Home (1998), Lu uses block chords in the left hand of the piano part to express the deep emotion felt towards one’s home and nation, which is reflected in the quiet and stable atmosphere. His Longing and Expectation (1988) employs many sextuplet figures to portray the excitement of people who are overseas and in Taiwan eagerly expecting a reunion. These three songs won the highest award – Chinese Music Gold Clock Prize in 2001. In The Last Dream, the piano accompaniment creates a very quiet and peaceful atmosphere – as if in a 39 dream – just as people dream of Taiwan and Mainland China reuniting. Lu not only has high aesthetic standards but also has a strong sense of patriotism. Poetry of Looking over My Home and My Country, My Beloved Mother are typical examples. Although his compositions follow the principles of European composition techniques, at the same time they are expertly combined with the Chinese language, the cadence of poetry and character of Chinese expression. From this perspective, I Love This Land is an art song which fully embodies these features.

Background to the lyrics

The lyrics were written by Qing (艾青) (1910–1996), who is regarded as one of the finest modern Chinese poets. He is also known under the pen names of Linbi, A and Ejia (林璧，克阿，薏伽). He was born in Fantianjiang (贩田蒋), Jinhua, Province. He was Associate Editor of People’s Literature. In 1985 French President Francois Mitterrand awarded him the title of Commander of the Order of Arts and Letters.

The lyrics of I Love This Land were written on 17 November 1938 and were published in Literature Collection of October in Guilin on December 1938. As City had fallen to Japanese invasion by October 1938, Ai Qing and many musicians left Wuhan for Guilin. Realizing that the country was defeated and his home lost, Ai Qing expressed his deep love for the nation and fierce hatred for the Japanese invasion in this poem.

If I were a bird, I would sing with my hoarse voice: Singing about the lands that were attacked by the blizzards, Singing about the constantly surging, sad and angry river, And the enraged wind that blew unceasingly, And the soft dawn which was from the forest, Then, I would die. Even my feathers would rot in the soil. Why are my eyes often filled with tears? Because I loved this land deeply. Ah! Ah! Ah! Because I loved this land deeply.

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This is a free verse form so each line has a different number of words. The bird and land imagery are used to reflect the poet’s love of the country and the people. The poem also expresses peoples’ hardship and their grief for the loss of their country in the events of 1938.

Lu Zaiyi’s noble aspiration for Chinese art song

Lu Zaiyi frequently commented on Chinese art song in different presentations. He stated: ‘A good art song always gives people some enlightenment and offers a special artistic enjoyment and aesthetic temperament and interest to people.’54 In his Collection of Chinese Art Songs he cites Handel’s words: ‘I should be sorry if I only entertained them; I wish to make them better’, and has commented on them in various conferences.55 Lu Zaiyi further explained, ‘If my music only makes people joyful, I am sorry because the purpose of my music is to make people noble.’ Lu Zaiyi chose Ai Qing’s lyrics for I Love This Land because of the aesthetic standard of the poem, which has romantic thoughts and feelings. He spent three years completing the song, which is a successful model of music that integrates verse, artistic style and piano arrangement. I Love This Land was composed in 2001 and won the highest award for composition – the Chinese Music Gold Clock Prize in 2002.

The main characteristics of the song

There are four main characteristics of Lu Zaiyi’s compositional style in this song.

Combination of aria and recitative style from opera: The song presents a typical example of the combination of Western compositional techniques with the traditional Chinese six-tone scale. The song is binary in form. The melodic line in part one uses an aria style to express the blizzards, the angry river, the violent wind, and the soft dawn in the forest. Part two has a typical recitative style with a simple melody and a narrow range to create a dream-like atmosphere.

The music complements the lyrics: Lu Zaiyi used six different time signatures, 4/4, 2/4, 3/4, 5/4, 6/4, and 7/4, to suit the free verse form with its lines of different length, the poetic metre and rhyme, and also to follow the rise and fall of emotions in the poem. For example, in bars 20 to 22, the lyrics are zhe bei bao feng yu suo da ji de di (‘the enraged wind that blew unceasingly, and the soft dawn in the forest …’), bao feng yu (‘enraged wind’) and tu di (‘land’, or ‘nation’) are the main syllables. The words tu di (land) should especially be emphasized and

54 Lu Zaiyi, My Opinion on the Creation of Chinese Art Songs (Shanghai: Shanghai Music Publishing House, 2009), 2. 55 William Forbes, An Account of the Life and Writings of James Beattie, LL.D. (Edinburgh: Arch. Constable and Co, [etc] 1806), 331. 41 short; therefore the composer changed the from 4/4 to 2/4, with a melody of emphatic repeated notes to accentuate the intense feeling of patriotism. From bar 96 to 99, Lu changes the tempo to ‘adagio ad lib’ for the Chinese lyrics: hou wo si le, (‘then, I would die’); the melody is smooth and closer to soft speaking. Subsequently he uses 6/4 to suit the eight words: yu mao ye fu zai tu (‘even my feathers would rot in the soil’). In order to match the lyrics ‘Why are my eyes often filled with tears? Because I loved this land deeply’ in Chinese syllables, Lu uses a series of quick time changes 7/4; 6/4; 5/4 and 4/4 to help the lyrics evocatively describe an intense devotion to the land (See Example19, bars 20–32 and Example 20, bars 96–104).

The music complements the cadence of poetry: Lu Zayi is always careful to deal with the connection between music and the cadence of poetry. He sets each note with a single Chinese syllable, then follows the stressed syllables to determine whether a note is long or short. For example, from bars 10 to 14, eight musical notes set seven words (jia ru wo shi yi zhi niao – ‘If I were a bird’) – only the stressed syllables are set with more than one note or with a long note, to match the cadence of the poetry. In the first sentence, the words ‘shi (am)’ and ‘niao (bird)’; ‘ (should)’ ‘hou long (throat)’ and ‘chang (sing)’are the stressed syllables: therefore the composer uses long notes (one and half beats) for the word ‘shi (am)’ (bar 10), ‘gai (should)’ (bar 12) and ‘long (throat)’ (bar 13); for the words ‘niao-bird’ (bar 11) and ‘chang-sing’ (bar 14) longer notes are used. These exactly match the cadence of the poetry (see Example 21). Such techniques in setting language are not easy to master; many composers ignore linguistic considerations when setting words.

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Example 19: Lu Zaiyi, I Love This Land, bars 20-34. Lu Zaiyi, Collection of Art Songs for Lu Zaiyi (Shanghai: Shanghai Music Publishing House, 2002), 36–37.

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Example 20: Lu Zaiyi, I Love This Land, bars 96-104. Lu Zaiyi, Collection of Art Songs for Lu Zaiyi (Shanghai: Shanghai Music Publishing House, 2002), 43–44.

Using duplication to emphasize the main theme: The composer repeats the melody found in bars 10 to bar 14, and from bar 15 to the second beat of bar 17 to emphasize the theme: ‘If I were a bird, I would sing with my hoarse voice.’ He then changes the melody at the third beat of bar 17 to develop the melody suited to the main body of the lyrics: ‘Singing about the lands that were attacked by the blizzards, singing about the constantly surging, sad and angry river.’ This characteristic is heard frequently in the melody: bars 32 to 33 are a duplication of bars 26 to 27, and the last beat of bars 85 to 92 are exactly repeated section of the last beat of bar 32 to bar 39 (see Example 21, bars 10–19, Example 22, bars 32–40).

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Example 21: Lu Zaiyi, I Love This Land, bars 7-19. Lu Zaiyi, Collection of Art Songs for Lu Zaiyi (Shanghai: Shanghai Music Publishing House, 2002), 35–36.

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Example 22: Lu Zaiyi, I Love This Land, bars 32-40. Lu Zaiyi, Collection of Art Songs for Lu Zaiyi (Shanghai: Shanghai Music Publishing House, 2002), 37–38.

Characteristics of the piano arrangement: In this song, the piano part is not just a simple accompaniment for the voice, but also displays a remarkable function, creating a musical tableau, portraying the poet’s emotion and setting off the poetic imagery of the lyrics through contrast. The first nine bars introduce two motifs. The first is introduced in the first bar and anticipates the main melody for the voice. The second motif is the use of continuous sextuplets. This motive is subsequently heard throughout much of the song (see Example 23, bars 1–9). The introduction to the middle section also emphasizes the main theme. The ending supports the voice to the climax of the music, lyrics and emotion, returning to the music of the introduction (see Example 24, bars 105–118).

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Example 23: Lu Zaiyi, I Love This Land, bars 1-9. Lu Zaiyi, Collection of Art Songs for Lu Zaiyi (Shanghai: Shanghai Music Publishing House, 2002), 35.

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Example 24: Lu Zaiyi, I Love This Land, bars 103-118. Lu Zaiyi, Collection of Art Songs for Lu Zaiyi (Shanghai: Shanghai Music Publishing House, 2002), 44.

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Two main piano patterns: There are two main piano motifs. The first is flowing sextuplets, which ascend and descend in the aria in Part One. These are used to symbolize the flight of birds and billowing wind. It also depicts the poet’s emotions: grief, fear and indignation (see again Example 21). Block and broken chords create a different effect in the recitative section, evoking a very quiet atmosphere that serves as a dramatic contrast to the tragic lyrics: ‘Then, I would die. Even my feathers would rot in the soil’ (see again Example 20, bars 96–101).

Interpretation of the song

Conveying the composer’s requirements: Lu Zaiyi’s art songs always pay careful attention to the character of Chinese language. He has stated that the Chinese language has a typical and rich expressivity in the world. Unless Chinese composers study the relationships of the four tones, namely syllable, intonation, tone and logical stress, they will not enhance the creative standard because they lack this knowledge.56

Lu Zaiyi composes music to express the subtle nuance of the lyrics; he places many interpretative annotations on the score, such as cantabile, poco ritardando, rubato, diminuendo, crescendo, deciso, slancio, piu mosso, majestic singing style, adagio ad lib and soft pedal. Lu uses only two portamenti to portray the emotions and to match the fourth tone of ai (爱 love). He does not use any other ornaments but ensures his melody always follows the characteristics of the language (see Example 25 and CD 2 Track 15 02:58-02:59 for bar 49, and 06:51-06:52 for bar 103 with the same word).

Example 25: Lu Zaiyi, I Love This Land, bars 49 and 103. Lu Zaiyi, Collection of Art Songs for Lu Zaiyi (Shanghai: Shanghai Music Publishing House, 2002), 39, 44.

Offer a different interpretation: While the composer makes many annotations, there are times when the singer may wish to offer some additional interpretation for effect. For example, this researcher whispers the lyrics: ‘Then, I would die ...’ instead of singing them, then delivers the next part of the line in parlando to create a dream-like atmosphere, emphasizing the Chinese

56 Opening address at ‘Chinese Art Song Symposium’ in Lanzhou, China, 2007. 49 traditional element and the dramatic scene. This helps to create great contrast between the repeated sections (see Example 20 and CD 2 Track 15 06:05-06:27 for bar 49, bars 96 to 99).

Singing approach: Several vocal techniques can be used to perform this song. The singer can use a light, delicate and lyrical type of voice to deliver Part One and the first iteration of Part Two (see Example 21 and Example 19). The singer can then speak in a whisper and a soft half- speaking, half-singing voice for the repeat of Part Two (see Example 20 and CD 2 Track 15 06:05-06:27 for bar 49, bars 96 to 99). The singer should project a more dramatic and powerful operatic voice in the final section, which is the culmination of the song, and the emotion should be released. The top note, B flat, appears twice in the high register to express passion and deep love of the motherland (see Example 24 and CD 2 Track 15 07:00-07:40, bars 105 to 114).

Breathing: A deep breath should be taken before each phrase in the final part of the song to produce a rich and powerful sound. This must be sustained through the tenuto marks and the final crescendo and decrescendo.

The most difficult point of the song is between bar 104 and bar 105, where the range is a major tenth, which is a wide register. For the purpose of contrast, the researcher uses ‘mp’ volume to replace the original ‘f’ for bar 105, and sings ‘f’ for bar 109, as the melody of bar 109 is the same as bar 105. The researcher also employs a crescendo and decrescendo when singing bars 113 to 114. This is even harder than the original musical annotation of ‘forte’. Therefore, breath control is very important for the successful delivery of the final section (Refer to CD 2, Track 15).

Themes of Lu Zaiyi’s art songs are a concise and vivid expression of the epoch. His melodic lines are lyrical, fresh, natural and smoothly contoured. Lu also pays more attention than others to the musical range that is suitable for each type of voice. My Country, My Beloved Mother is composed specifically for tenor; Poetry of Looking over My Home is for baritone; and he also takes care to produce scores transposed for different voices (e.g. I Love This Land, Poetry of Looking over My Home and Where is My Home?). The Last Dream is composed for soprano and Colored Cloud and Fresh Flower is for coloratura soprano. Consequently many singers enjoy singing his art songs in concert.

Lu Zaiyi’s art song could be compared to a cup of fragrant green tea, leaving people to savour its lingering aftertaste.

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4.3 Case study 3: Lullaby (摇篮曲) by Shi Guangnan

Shi Guangnan and the creation of Chinese national music

Shi Guangnan died suddenly on 2 May 1990 when he was only 49 years old. He had created more than one thousand Chinese songs in his short life. His works are a bridge between classical and popular music. Scholars and amateurs admire them, and some songs such as Celebration Song; Passionate Lands; Ripe Grapes in Turpan; are very popular throughout China. Shi is a person who risked his life for music. This is why he was the only musician to be named People’s Musician by the Culture Department of the Central Government in 1990. He believed that composers could use foreign composition techniques, but must develop their own musical style drawing from China’s rich heritage of music from its 56 ethnic groups.57 Shi liked and Chinese folk music as a child; as a composer, he aspired to draw on this heritage and to create a strong Chinese national musical style in his songs. For example, in Tea Song in March, the composer used the pentatonic shang mode as the main body, while at the ending, Shi inserted two chromatic notes which are not from the shang mode to express the people’s enjoyment of the tea harvest (refer CD 1 Track 25). This sparse addition of tones outside the mode served to maintain the traditional music and develop the expression of Chinese traditional music. In The Rainbow After Rain (refer CD 2 Track 17) and Begonia Leaves (refer CD 1 Track 7) Shi used the same technique. In A Young Girl’s Heart (refer CD 2 Track 27), he used the yu mode, which resembles a folk tune from the Yunnan region, to express a young girl who falls in love with a boy secretly. Another example is Lullaby, in which the composer used the traditional Chinese pentatonic mode and employs short, simple musical material to convey a peaceful and happy tableau of a young mother rocking her baby while humming a cradle song.

The character of the song

Musical mode: The song is in the gong mode, a pentatonic scale consisting of: c – d – e – g – a.

Musical form: Shi Guangnan uses simple musical material (one main theme) and develops variations. This is also called same head, different tail, which is a typical traditional Chinese musical form. In Western terms, the theme is formed by an antecedent phrase in bars 5 to 9. This is followed by a consequent phrase (bars 10–14). Bars 10–11 exactly repeat bars 5–6 to

57 Shi Guangnan, ‘How I Write Songs’ in People’s Musician – Shi Guangnan, ed. Zhang Genfang and Ye Tao (Jin Hua: Jin Hua, Jin Dong Qu Shi Guangnan’s Research Centre, 2009), Vol 1, 195. 51 strengthen the main theme; bars 12–14 keep the same rhythm as bars 7–9 but change the melody for variation. The third phrase creates contrast, with a different melody and rhythm to the first two phrases (see bars 15 to 18). The fourth phrase is a variation of the third phrase, initially transposed downwards by a fifth.

Using less musical material to create scope for greater melodic possibilities:

Shi Guangnan said:

During the development of the melody, the composer should try to use the same musical material until you have to change to a new one. Doing so not only keeps the music unified into a whole, but also makes the musical theme more memorable.58

The melody of Lullaby is developed based on two bars of material; the fifth and sixth phrases are a repeat and variation of the first phrase (see Example 26).

Quiet and gentle musical image: The composer introduces the image of a cradle swinging in the four bars of introduction, using a repeated piano pattern to create a peaceful atmosphere.

Interpretation of the song

Transposition: The original key of the song is D major; Shi Guangnan wrote the song especially for the mezzo voice. The researcher transposed the key from D major to F major. The purpose of the transposition is to put the song into the soprano voice range, making it suitable for a Chinese national singing style as the music is written in gong mode.

Singing method: Chinese national singing approach: The Chinese national singing method is a combination of bel canto and Chinese folk influence. During the 1980s, Jin Tielin, who was the president and a professor at the China Conservatory, built up a set of teaching approaches that combine bel canto techniques with folk song singing. The term ‘Chinese national singing’ was recognized by the Central Government in 1983.59

Characteristics of Chinese national singing

Fewer vibratos: The resonant volume of the voice needs to be controlled. The oral and nasal cavity resonance is used more because of the pronunciation of the Chinese language. The

58 Shi Guangnan, ‘How I write songs’, Vol 2, 22. 59 Refer to Ma Duosi, ‘Report of Chinese National Singing Establishment,’ Lao Ren Bao (Elder People’s Newspaper), April 3, 2013. 52 correct Chinese pronunciation depends on mouth dynamics. It is better to use little or no vibrato with only half the volume of the voice to sing Lullaby, creating a quiet and peaceful atmosphere.

The articulation should be very clear: There are 56 ethnic groups in China and each one has their own local language. Some folk songs are sung in the local language, but most are sung in the official language, Mandarin. A syllable in Mandarin consists of three parts: the initial consonant (声母), a simple or compound vowel (韵母) and the tone (声调). The meaning of the word will not be right if a singer does not correctly pronounce the initial consonant.

The simple or compound vowel is the core of pronunciation for each Chinese syllable. Creating a beautiful sound relies on producing the correct vowel. Only when the singer holds the right initial consonant, vowel and tone can the singer articulate the lyrics. Clear articulation is the first consideration for singing in the Chinese national style. In the Western operatic singing style the word follows the sound; however, in the Chinese national singing approach the sound follows the word.

The timbre of voice must be light, sweet and bright: Chinese folk songs express ordinary people’s normal life and love; the intimate, cordial feeling will be lost if a singer uses a heavy voice, especially when singing a lullaby. When a singer uses less vibrato, emphasizes clear articulation, and uses oral and head cavity resonance the singer will produce a sweet, beautiful and light timbre.

Flexible breathing: Usually Chinese national singing employs flexible and varied breathing methods, for example, ‘stealing a breath’ and ‘robbing a breath’ (see Chapter 2, Section 2.2), ‘quick inhale’, ‘slow inhale’, ‘light inhale’ and ‘deep inhale’. For this lullaby the researcher uses the ‘deep inhale’ to take more breaths and so control her voice at half volume. She takes ‘light inhales’ between each musical phrase such as bars 7, 12 and 17 (see Example 26). Then, in bar 29 she uses ‘rob a breath’ between the first and second beat.

In short, the Chinese national singing approach is different from the Western operatic singing style and European art song style. In this study, the researcher performs these songs using the Chinese national singing approach, which does not really correspond to the authentic folk singing style. It is lighter in character; folk songs use a more natural voice without any vibrato. However, as mentioned above, these songs are sung with less vibrato. For any Chinese art song with Chinese national musical elements, the singer should consider using the Chinese national singing method (An example is Lullaby by Shi Guangnan: refer to CD 1, Track 17). Apart from

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Lullaby, other songs the researcher performs in the Chinese national singing style are: The Young Girl’s Heart by Shi Guangnan (refer to CD 2, Track 27); Tea Song in March by Shi Guangnan (refer yo CD 1, Track 25); The Last Dream by Lu Zaiyi (refer CD 2, Track 11); The Rainbow After Rain by Shi Guangnan (refer CD 2, Track 17); and I Love the Wintersweet in the Garden by Zheng Qiufeng (refer CD 4, Track 17).

The theme of Shi Guangnan’s art songs contain various subjects such as patriotic ideals, love, national events, nature and narrative theme which are delivered through the use – classical, folk and popular styles. There are however three art songs in the folk singing style only recorded in this study by Shi. These are: Lullaby (refer CD 1, Track 17); The Young Girl’s Heart (Refer to CD 2, Track 27); and The Rainbow After Rain (Refer CD 2, Track 17). His art songs are still deeply loved by the Chinese people and even though he died more than 30 years ago, singers still perform his songs regularly in concerts.

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Example 26: Shi Guangnan, Lullaby full score. Shi Guangnan, Song’s Collection of Shi Guangnan Ripe Grapes in Turpan (Beijing: People’s Publishing House, 1984), 34.

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4.4 Case study 4: Autumn, Pamir, How Beautiful My Hometown Is! (秋，帕米尔，我的家 乡多么美 !) By Zheng Qiufeng

The composer

Zheng Qiufeng is a famous military composer. He has created a large number of musical works including dance music, film scores and orchestral works. He wrote several hundred vocal songs during his 41-year army career. Some songs such as I Love You, China! (Refer CD 4 Track 3) and Autumn, Pamir, How Beautiful My Hometown Is! (Refer CD 4 Track 23) are very popular in China. Zheng Qiufeng emphasises the importance of designing the correct musical image, which he says is the soul of every musical work.60 In almost all his songs, therefore, there is more than one musical image. In addition, he also emphasizes the social, aesthetic and educational functions of music. For example, The Life is So Beautiful (CD 4 Track 7); Melody of Yearning Hometown (Refer CD 4 Track 5); The Petrel Soaring into the Sky (Refer CD 4 Track 9) and I Love You, China! composed in 1979 for the film Loyal Chinese Overseas. He spent three months living in a village with some emigrants who had returned to home from overseas, because he thinks the degree of yearning for the motherland is different for emigrants than for local people: the emigrants missed their homeland more strongly when they were overseas. This is why Zheng composed the introduction of the I Love You, China! with ‘rubato’- extensive and free. He believes his musical image can inspire people’s passion of patriotism. His art songs The Beautiful Peafowl River (Refer CD 4 Track 15); I Love the Wintersweet in the Garden (Refer CD 4 Track 17) and A Drilling Girl (Refer CD 4 Track 11) are collected as teaching materials in tertiary music institutions. He said: A beautiful song can fly with its wings.

Background to the song

Autumn, Pamir, How Beautiful My Hometown Is! is the third song in the vocal divertimento The Four Seasons of the Motherland, composed by Zheng Qiufeng in 1979, with lyrics by Qu Cong.61 Since the Chinese government commenced its policy of reforming and opening up to the outside world in 1976, Chinese artists have ushered in a new springtime for the arts, with music shaking off the yoke of politics. The Four Seasons of the Motherland was composed to celebrate the 30th anniversary of Chinese National Day; it reflects people’s changing conceptions and the new era of hope. Many singers perform Autumn from the Four Seasons on stage due to its beautiful melody and unique style.

60 Interview with Zheng Qiufeng, Guangzhou, China, 25 September 2014. 61 Qu Cong is a famous and prolific military writer and poet. He has published collections of poetry and novels. He and Zheng Qiufeng have created many vocal works together and they have won numerous awards. 57

Characteristics of the music

Musical form: Zheng Qiufeng likes to employ this structure: introduction (rubato) – main section – ending. This can be found in many of his vocal works, for example Spring, I Love You, China!, Winter and Autumn, Pamir, How Beautiful My Hometown Is!

Musical images and modal scales: The song establishes two music images – the eagle flute and the skylark – with typical muqam modal scales. Muqam originated with the indigenous peoples of the Western Regions and shows the strong influence of traditional music.62 The Uyghur muqam has 12 divertimentos and is a fusion of traditional musical modes of Arabic maqam and Uyghur folk songs; its characteristics are similar to Tajik folk music.

Tajik music can be separated into two divisions: mountain Tajik and lowland Tajik. The characteristics of mountain Tajik music are described in Encyclopedia iranica:

The musical characteristics of the mountain Tajik tradition are: narrow melodic range, minor and augmented second, frequent use of parallel fourths on and fiddle, frequent use of seven beat meters.63

This song reflects the typical character of mountain Tajik music. For example, through the introduction the composer uses single and double appoggiaturas evoking the maqam scales of Middle East and Central Asia, and a wave-like melody to imitate the Tajik traditional instruments eagle flute and rawap64 to emulate the skylark as it turns over in the sky (see Example 27, bars 1–12, especially bar 5 and bar 7).

62 “Muqam,” in Baidu baike Online, accessed December 7, 2016, http://baike.baidu.com/item/ 63 ‘Central Asia xvi. Music,’ Encyclopedia Iranica, accessed February 1, 2016, http://www.iranicaonline.org/articles/central-asia-xvi 64 An instrument with seven strings, it is used in the Uyghur regions of Province. It is shaped like a guitar. 58

Example 27: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! bars 1-12.

Zheng Qiufeng, Vocal Divertimento Four Seasons of the Motherland (Beijing: People’s Music Publishing House, 1987), 11.

The three augmented 2nd intervals employed in bars 43, 48 and 51 are another example emphasising the musical character of muqam (see Example 28).

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Example 28: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! bars 42-53. Zheng Qiufeng, Vocal Divertimento Four Seasons of the Motherland (Beijing: People’s Music Publishing House, 1987), 13.

Using the traditional 7/8 Tajik dance rhythm: This appears in the interlude and the main section. Tajik people are renowned for their skill in singing and dancing. The composer applies the traditional dancing rhythm (7/8) when depicting the Tajik people’s praise of frontier soldiers, the beautiful scenery of Pamir, and the happy life of the local people (see Example 29, bars 21–29).

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Example 29: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! bars 21-29. Zheng Qiufeng, Vocal Divertimento Four Seasons of the Motherland (Beijing: People’s Music Publishing House, 1987), 12.

This 7/8 rhythm is typical of Tajik dance because of the natural environment in which the Tajik people live. The mountain roads are precipitous and dangerous, so people have to walk with relaxed knees and flat feet. This steady, strong and tenacious step corresponds to a 3/8 + 4/8 (7/8) rhythm. It is the ideal combination of active and quiet motion, reflected in the characteristics of the dance.

Interpretation of the song

Singing style: The ideal singing style is light classical.

Extra appoggiaturas matching the four tones of Mandarin: In bar 20, the researcher puts the extra appoggiatura ‘b natural’ in front of ‘c’ as a rising to the principal note, matching the third tone of the Chinese word (美 – beautiful) (see Example 30 and CD 4 Track 23 01:33 for bar 20).

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Original score: Researcher’s version:

Example 30: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! Bar 20.

Another example is bar 69, where the researcher puts an appoggiatura ‘d’ in front of ‘c’, falling to the principal note to match the fourth tone of the word zui (醉 – drunk) (see Example 31 and CD 4 Track23 04:15 for bar 69).

Original score: Researcher’s version:

Example 31: Zheng Qiufeng, Autumn, Pamir, How Beautiful My Hometown Is! Bar 69.

The same note (c) has two different appoggiatura, one rising and the other falling to the principal note to match the differing tones of the words.

Breathing control and use of ‘robbing a breath’: 7/8 (3/8 + 4/8) is a difficult rhythm to control and it is easy to confuse with 6/8. Each inhalation should accurately and strictly follow every musical phrase (four bars or two bars); the second part of each bar (4/8) should be sung with full musical value and with deep breaths.

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The ‘robbing a breath’ technique is used before each word in bars 44, 48 and 52 (see Example 28). The amount of air can be somewhat greater here as it is at the start of the sentence. The use of ‘robbing a breath’ in a long phrase helps the singer reinflate the lungs; it also produces a distinctive emotional nuance, especially at the beginning of a sentence (For ‘robbing a breath’, please see Chapter 2, section 2.2 ‘Breathing techniques).

Dynamics: Accentuation should be felt on the first beat, the fourth beat and the sixth beat, otherwise the singer can easily sing incorrectly in 6/8.

Dance: The tempo of this song is fast and the mood is merry; consequently the middle of the introduction is suitable music to dance to, expressing the Tajik people’s happy life and their skill in dancing (see Example 29, bars 21 to 29). The singer can choose a few typical Tajik dance movements, such as the eagle dance. This is popular among the Tajik people, who idolize eagles as symbols of bravery and power. The typical actions imitate the eagle spreading its wings: single wing, double wings and two wings cross-waving. The two wrists are held above the head, spinning softly and extending from in to out or from out to in. The legs are kept bent, with the stable 7/8 rhythm that is characteristic of Tajik dance (see figure 2 of Tajik eagle dance).

Other typical traditional dance movements involve flexing the wrists and moving the neck. There are three simple wrist actions with neck movements. The neck is moved from one side to another. The wrist movements are: turning the wrists around the waist, chest and up to the head; circling wrists rising from the chest to the left side above head, and repeating the actions from the chest to the right side above the head; and turning both wrists while one arm is rising and the other falling (see Figure 1 and Figure 3 of Tajik dance and Tajik eagle dance).

Zheng Qiufeng’s art songs are thoroughly in tune with contemporary Chinese sensibility; his use of picturesque musical imagery will most likely ensure the ongoing appeal of his music.

The fifty-six Chinese art songs recorded in this project highlight the transformation and development of musical style and composition techniques from these four leading composers in the wake of political reform and China’s opening to the world.

These art songs are notable for their melodic appeal, well-developed composition technique, and contemporary themes. As a result they are often used in the vocal teaching field in China, and some songs have achieved national popularity. The four case studies above present some characteristics of music and performance practice that are typical of the genre. It is impossible to give a complete analysis of all fifty-six songs within 15,000 word of exegesis. However, the 63 recording of songs, commentary and exegesis together provide very extensive information and documentation of Chinese art song. The reader is directed to the four accompanying CDs to gain a fuller appreciation of the genre. Immersing yourself in the music is the best way to gain an understanding of how Chinese contemporary art song differs from its Western countparts.

Figure 1：Tajik dance - Shape of arms and fingers for female https://www.google.com.au/imgres?people.com.cn

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Figure 2: Tajik eagle dance – imitation of eagle https://www.google.com.au/imgres? imgurl=http%3A%2Fwwwfeiyicheng.com

Figure 3: Tajik eagle dance - Action of legs and arms https://www.google.com.au/imgres?sannong.cntv.cn

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Conclusion

The vast repertoire of Chinese contemporary art song and singing styles are a significant resource for performers and scholars interested in and the art song genre. This study has investigated Chinese contemporary art songs of four leading composers which have rarely or never been recorded. With the knowledge of the historical, social political and artistic context, characteristics of Chinese art song and the guidelines presented for the preparation of performance, the researcher has systematically recorded the repertoire to document the development of the genre of art song in China. The recordings clearly demonstrate the approach to the performance and interpretation of the operatic art song style. They combine vocal techniques from European art song and the various styles of Chinese art song including breathing techniques, ornamentation and singing styles in ways that suit each song. Notably, they highlight how to select ornaments to convey emotion and to match the four tones of the Chinese language, critical elements of the performance practice of this repertoire. Taken together the recordings and exegesis can be used as a guide to performing Chinese art song that is little known in the English-speaking world.

Through the experience of research and practice, this researcher has found that many people lack even a basic knowledge of the genre of art song whether European art song or Chinese art song. Therefore, it remains a long term task to raise knowledge based on popularization of the genre of art song in general and Chinese contemporary art song in particular among a wider audience. It is hoped that future work will be undertaken to extend the performance of Chinese contemporary art song to other composers using this method to enrich the musical repertoire of international performers.

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References

Books

Chinese Musician’s Association, New Works of Chinese Art Songs. Beijing: Chinese Musician’s Association Publishing House, 2000.

Forbes, William. An Account of the Life and Writings of James Beattie, LL.D. Edinburgh: Arch. Constable and Co, 1806.

Garcia, Manuel. Art of Singing. Boston: Oliver Ditson Company, 1847.

Hu, Shi. ‘About Shijing’, in Collected Works of Hu Shi, Vol. 4. Shanghai: Shanghai Commercial Press, 1936.

Jiang, Jiaxiang. Exploration of Chinese National Singing Method. Beijing: People’s Music Publishing House, 1983.

Liu, Ching-chih. A Critical History of New Music in China. Translated by Caroline Mason. Hong Kong: Chinese University Press, 2010.

Lamperti, G. B. The Techniques of Bel Canto. New York: G. Schirmer, 1905.

Li Lanzong, Exploring the Early Italian Bel Canto Theory. Beijing: People’s Music Publishing House, 1983.

Lu Zaiyi. My Opinion on Creation of Chinese Art Songs. Shanghai: Shanghai Music Publishing House, 2009.

Liang, Maochun. Collection of Dissertations on Chinese Art Songs. Shanghai: Shanghai Music Publishing House, 2009.

Liu, Yifeng. Collection of Dissertations on Chinese Art Songs. Shanghai: Shanghai Music Publishing House, 2009.

Peng, Genfa. Collection of Dissertations on Chinese Art Songs. Shanghai: Shanghai Music Publishing House, 2009.

Research Department, Central Drama College. Basic Technique of Staging Language – Collection of Teaching Material. Beijing: Research Department of Central Drama College, 1982.

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Shang Deyi. Joy of Torch Festival: Shang De Di Eight Coloratura Art Songs. Beijing: People’s Music Publishing House, 1982.

Shi Guangnan, ‘How I Write Songs’ in People’s Musician – Shi Guangnan, edited by Zhang Genfang and Ye Tao, Vol 1, 195. Jin Hua: Jin Hua, Jin Dong Qu Shi Guangnan’s Research Centre, 2009.

Toft, Robert. Bel Canto: A Performer’s Guide. New York: Oxford University Press, 2013.

Yang, Mingjian. Collection of Dissertations on Chinese Art Songs. Shanghai: Shanghai Music Publishing House, 2009.

Zhao, Jinghua. Collection of Dissertations on Chinese Art Songs. Shanghai: Shanghai Music Publishing House, 2009.

Zhao, Meibo. Art of Singing. Shanghai: Shanghai’s Music Publishing House, 1997.

Articles

Bi, Haiyan. “A Progeny of Blending Chinese Music and Western Music: An Analysis of Qing Zhu’s Yantze River Flows into East, ” Journal of Tian Jin Conservatorium no. 2 (2004): 26–29.

Guo, Biao and Guoyu, Jia. “Viewpoints on Singing Chinese Art Songs.” Journal of Shanghai Normal University no. 2 (1992): 135–140.

Peng, Genfa. “Thinking of the Definition of the Chinese Contemporary Art Songs.” Journal of People’s Music no. 9 (2007): 9.

Wang, Yuhe. “New Music of China: Its Development under the Blending of Chinese and Western Culture through the First Half of the 20th Century.” Journal of Central Conservatorium no. 2 (1995): 55–63.

Zhao Jing, “The Stratigy of Singing on I Live at The Source of The Yangtze River,” Journal of Gansu Lianhe University Vol. 26, No. 4 (2010), 62-64

Scores

Luo, Hui. Collection of Songs for Voice Volume One: Soprano. Beijing: Higher Education Press, 2002.

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Luo, Hui. Collection of Songs for Voice Volume Two: Soprano. Beijing: Higher Education Press, 2002.

Luo, Hui. Collection of Songs for Voice Volume Two: Mezzo. Beijing: Higher Education Press, 2002.

Jilin Musicians Association. Modern Music. Changchun: Jilin Musicians Association Press, no. 6, 2015.

Lu Zaiyi. Collection of Art Songs for Lu Zaiyi. Shanghai: Shanghai Music Publishing House, 2002.

Ministry of Culture. The Complete Works of Shi Guangnan: Vocal Volume. Beijing: Culture and Art Press, date to be confirmed. The researcher obtained electronic versions of three music scores in February 2017.

Hong, Ruding. People’s Musician Shi Guangnan’s 101 Songs. Bejing: China’s International Broadcasting Publishing House, 1991.

Shang Deyi. Collection of Solo Art Songs. Beijing: Hua Le Publishing House, 1998.

Shang Deyi. Collection of New Art Songs. Beijing: Central Conservatory of Music Publishing House, 2008.

Shi Guangnan. Song’s Collection of Shi Guangnan- Repe Grapes in Turpan. Beijing: People’s Publishing House, 1984.

Voice Department of Central Conservatory of Music. Collection of Songs for Voice. Beijing: People’s Music Publishing House, 1983.

Zheng Qiufeng. Vocal Divertimento Four Seasons of the Motherland. Beijing: People’s Music Publishing House, 1987.

Websites

Zhou Yi, “A Study of Singing Lu Zaiyi’s Art Song” DMA diss., Hunan Normal University at Changsha, 2005. Accessed November 5, 2013. http://cdmd.cnki.com.cn/Article/CDMD-10542- 2005112899.htm.

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Peng Ling, “Singing Analysis Four Season of Motherland of Vocal Divertimento by Zheng Qiufen” DMA diss., Sichuan Normal University at Chongqing, 2010. Accessed May 29, 2014. http://www.doc88.com/p-6137320286187.html.

‘Central Asia xvi. Music.’ Encyclopedia Iranica. Accessed February 1, 2016. http://www.iranicaonline.org/articles/central-asia-xvi

Hongbin, Yu. “Exploring Development and Singing of Chinese Art Song during 30 Years of Reforming and Opening in China.” Fu , Xia Men, 2008. Accessed July 17, 2009. http://d.wanfangdata.com.cn/Thesis_Y1447569.aspx

“Muqam.” In Baidu baike Online. Accessed December 7, 2016. http://baike.baidu.com/item/ https://www.google.com.au/imgres?people.com.cn https://www.google.com.au/imgres?imgurl=http%3A%2Fwwwfeiyicheng.com

Shi Guangnan. Leaves of Begonia. Accessed November 5, 2014. http://www.qupu123.com/meisheng/sizi.p14345.html

Shi Guangnan. A Young Girl from the South. 我爱曲谱 52qupu.com. Accessed March 8, 2016.

Zheng Qiufeng. I Love Wintersweet in the Garden. Accessed July 12, 2015. http://www.qupu123.com/minge/sanzi.xueyuhang.html

CDs

Shi Guanan. ‘Ripe Grapes in Turpan – Collection of Shi Guangnan’s Works’, Shanghai Recording and Video Company Press ISBN: CNE040541400, 2005, compact disc.

Zheng Qiufeng. Zheng Qiu Feng Music Work Chooses [Sic], Solo Voice Volume 2. China Recording Company, Guangzhou ISRC CN-F 13-02-380-00, 2002, compact discs.

Zheng Qiufeng. Zheng Qiu Feng Music Work Chooses [Sic], Solo Voice Volume 3. China Recording Company, Guangzhou ISRC CN-F 13-02-382-00, 2002, compact discs.

Lu Zaiyi. ‘I Love This Land - Collection of Lu Zaiyi’s Art Song’, Shanghai Music Publishing House and Shanghai Audio and Video Company of Literature and Art CDO5108-2 ISRC CN- R12-05-405-00/A.J 6, 2005, compact disc.

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Shang Deyi. Collection of Shang Deyi’s New Art Songs, Beijing Huanqiu Publishing House ISRC CN-A64-070373-00 A J 6, 2008, compact discs.

Newspapers

Duosi, Ma. ‘Report of Chinese National Singing Establishment.’ Lao Ren Bao – Elder People’s Newspaper, April 3, 2013.

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Appendices

Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs

Chinese contemporary art song lyrics in English translation of Chinese romanized Chinese contemporary art song

Composer: Shi Guangnan (twenty songs)

1. My Mother, My Motherland 1. My Mother, My Motherland (我的祖 (我的祖国妈妈) 梁上泉词 国妈妈) Lyrics: Liang Shangquan

Wo zou bian hai tian ya, Even though I have gone to the remotest Wang bu liao zu guo ma ma. corners of the globe, Zu guo ma ma ya, Zu guo ma ma ya! I cannot forget my motherland. Er nü zai hai wai piao liu, My motherland, my mother, Chang si nian jiu bie de lao jia, Duo shao ci tuo fu yuan fei de da yan, My motherland, my mother! Shao gei ni shen qing de hua. Children often think of their hometown Ni ting jian ma? much more when they drift overseas; Ni ting jian ma? And they pass the lovely message to you Wo de zu guo ma ma! through the far flight of wild geese. Ni ting jian ma? Have you heard the message? Have you Ni ting jian ma? heard it? Wo qin ai de zu guo ma ma! My motherland, my mother! Have you heard it? Have you heard it? Wo zou bian hai jiao tian ya, My dear motherland, my mother! re ai zu guo ma ma. After travelling around the world, Zu guo ma ma ya, I love my motherland much more. Zu guo ma ma ya! My motherland, my mother, zou shi man tou qing si, My motherland, my mother! Gui lai shi man tou yin fa, Leaving with black hair, Que yi ran huai zhe chi zi zhi xin, And returning with grey hair. Xian gei ni bu xie de hua. I still have a loyal heart. Ni shou xia ba, These fadeless flowers are for you. Ni shou xia ba! Please accept them, please accept them! Wo de zu guo ma ma! My dear motherland, my mother. Ni shou xia ba, Please accept them, Ni shou xia ba! Please accept them! Wo qin ai de zu guo ma ma! My dear motherland, my mother. Ni shou xia ba, Please accept them, Ni shou xia ba! Please accept them! Wo qin ai de zu guo ma ma! My dear motherland, my mother.

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2. The Passionate Land 2. The Passionate Land (多情的土地) (多情的土地) 任志萍词 Lyrics: Ren Zhiping

Wo shen shen di ai zhe ni, I love you deeply – the passionate land. Zhe pian duo qing de tu di, The twittering of birds and the fragrance of Wo ta guo de lu jing shang, flowers used to reach me on the path that I hua xiang niao yu; walked. Wo geng yun guo de tian ye shang, There are many layers of golden and green Yi ceng ceng jin huang cui lü, crops in the fields that I cultivated. Wo zen neng li kai zhe he cha ji, How can I leave this branch of the river and Zhe he cha shan ji, this ridge of this hill? Ah! Ah! Ah! … Ah! ... Wo yong bao cun kou de bai sui I embrace the locust tree, which is a fu yong bao ma ma de shen qu. hundred years old, As if I hugged my mother’s body. Wo shen shen di ai zhe ni, Zhe pian duo qing de tu di, I love you deeply – the passionate land. Wo dou xi shun zhe da di qin de I always drink the milk of the great Mother ru zhi; Earth. Wo tian tian dou jie shou zhe ni de ai I embrace your dear love and affection qing yi, every day. Wo qing qing zou guo zhe shan lu xiao xi, I walked slowly along the mountain Zhe shan lu xiao xi, pathway and the stream. Ah! Ah! Ah! ... Ah! Wo you hei de jia xiang ni tu, I cupped the black soil of my hometown in Fang fu peng qi li xiang de xi ji. my hands, As if I held the perfect dream. Wo shen shen di ai zhe ni, Zhe pian duo qing de tu di, I love you deeply – the passionate land. Duo qing de tu di, The passionate land, Tu di, The land, Tu di! The land!

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3. Hometown (故乡) 石祥词 3. Hometown (故乡) Lyrics: Shi Xiang

Gu xiang, My hometown, hometown, Gu xiang, Where I was born and grew up. Sheng wo de di fang. There is a meandering stream outside the Cun wai you yi tiao wan wan de xiao he, village, Jie shang you yi pai gao gao de . There are tall white poplars standing in a row on the street.

Nai nai zai pu tao jia xia jiang guo gu shi, My grandmother told the story under the grape stand, Ma ma zai guang xia jiao wo ge chang. My mother taught me singing in the moonlight. Ah gu xiang, Ah gu xiang, Ah! Hometown. Ah! Hometown. Ru jin wu lun zou dao na li, Now no matter where I go, Nan wang qin ren xi de mian rong, I cannot forget the familiar faces of my family. Nan wang wo ke ai de gu xiang. I cannot forget my lovely hometown.

Gu xiang, Gu xiang, My hometown, hometown; Wo ru wu lai dao bian jiang. I joined the army coming here to the Da shan dai ti le gu xiang de xiao wu, borderland. The great mountains replaced the cottages Hai lang dai ti le gu xiang de lang. of my hometown; Ri ye zai feng xue li dou xun luo, Substituting the waves of the sea for the waving wheat of my hometown. We patrolled in the wind and snow day and Chang nian zai bian fang xian fang shao night, zhan gang. And stood sentry on the frontier defence line all year round.

Ah gu xiang, Ah! Hometown. Ah! Hometown. Ah gu xiang, Our soldiers regard the four seas as home. Ge ming zhan shi si hai jia, We loved the remote frontiers of our Ai shang zu guo yao yuan de bian jiang, motherland. Zhe shi wo de di er gu xiang. The frontier is our second hometown.

Gu xiang, Hometown, Gu xiang, Hometown, Gu xiang! Hometown!

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4. Begonia Leaves(秋海棠叶)倪维德词 4. Begonia Leaves（秋海棠叶） Lyrics: Ni Weide

Qiu hai tang ye yan hong mei li, Begonia leaves are so red and beautiful, Qing qing piao zai you zi de meng li. They float softly in the dreams of the traveller. Dang wo meng jian qiu hai tang ye, When I dream of begonia leaves, Ru tong kan dao zhong hua da di; I see the great earth of China.

Dang wo meng jian qiu hai tang ye, When I dream of begonia leaves, It is as though I seethe landscape for ten Hao xiang kan dao wan li. thousand miles ahead.

Ah! Ah! Begonia leaves! Qiu hai tang ye, How beautiful is my motherland! Mei li de zu guo, I love you very much; Wo duo ai ni, And I miss you very much. Duo mo xiang ni, No matter if I cross the four seas and five Wu lun zou bian si hai wu zhou, oceans, Zen neng gen zai na li! I cannot forget where my roots are.

Qiu hai tang ye yan hong mei li, The leaves of begonias are red and beautiful, Qing qing piao zai si xiag de li. They float softly in the tears of the man yearning for his hometown. Dang wo xiang qi qiu hai tang ye, When I think of the leaves of begonias, Ru jian zu guo tong yi; It is just like dreaming that the motherland is united. Dang wo xiang qi qiu hai tang ye, When I think of the leaves of begonias, Hao xiang meng jian gu rou tuan ju. It is like dreaming of a family reunion. Ah! Qiu hai tang ye, Ah! The leaves of begonias. Mei li de zu guo, How beautiful is the motherland! Wo duo mo ai ni, I love you very much; Duo mo xiang ni, And I miss you so much. Wo yao fei hui ni de huai bao, I am going to fly to your embrace; Qin ni na mei yi cun tu di. And kiss every handful of soil.

Qiu hai tang ye duo mo mei li, What beautiful begonias!

Wo ri ye si nian ni. I miss you always.

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5. When the Ox-Drum Is Beating 5. When the Ox-Drum Is Beating (当牛 (当牛皮鼓响的时候) 韩伟词 皮鼓敲响的时候) Lyrics: Han Wei

Wan feng chui song zhe hua xiang, The fragrance of flowers is blown by the Zong lü shu qing qing yao huang. night wind, The palms are rocking softly. Zhong mian peng you pian ran qi wu, Chinese and Burmese are dancing lightly, Cao ping shang duo duo xian hua kai fang. Each fresh flower is coming into bloom on the lawn. A luo a li ah luo, A luo a li ah luo, Ah luo a li a luo. Ah luo a li a luo. A luo a li ah luo, A luo a li ah luo, Ah luo a li a luo. Ah luo a li a luo. We are pouring out the friendship between Wo men qing su zhe bao bo zhi qing. China and Burma. Dong ren de gu sheng kou dong xin fang. The sound of the drum touches us and makes our hearts beat faster.

Da jin ta man xia guang, The Shwedagon Pagoda65 is glowing with the sunshine, Yang guang he fan qi yin lang. The silver waves are stirring up in the Yangon River.66 Huan hu de ren men xiang hu wen hou, People are dancing and are greeting each other. Xiang bi yi niao er zhan chi fei xiang. They are like birds that fly wing to wing. A luo a li ah luo, A luo a li ah luo, Ah luo a li a luo. Ah luo a li a luo. A luo a li ah luo, A luo a li ah luo, Ah luo a li a luo. Ah luo a li a luo. Wo men qing su zhe bao bo zhi qing. We are pouring out the friendship between China and Burma, Mei miao de gu sheng zhong sheng nan The wonderful sound of the drum will wang. never be forgotten.

Qing shan bu lao lü shui liu tang, The green mountain is always green and the green water is flowing, Zhen zhi de you yi di jiu tian chang. Sincere friendship will be as enduring as Jin qing de tiao ba fang sheng de chang, the universe. Qing ji zhu zhe mei hao de shi guang. Let’s dance to our heart’s content and sing Ah luo ah li ah luo, at the top of our voices. Ah luo ah li ah luo, Please remember this beautiful moment! Ah luo ah li ah luo, Ah luo a li a luo, Ah luo a li a luo. Ow luo ah li ah luo, Ah luo a li a luo, Ah luo a li a luo. Wo men qing su zhe bao bo zhi qing. We are pouring out the friendship between China and Burma, You yi de gu sheng youg yuan hui dang! The sound of the friendship drum will resound forever. Ow Ow Ow Ow Ow! Ow!

65 Shwedagon Pagoda is in Yangon City, Burma. 66 Yangon River is located in the south of Burma, and is 37 kilometre in length.

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6. Lullaby (摇篮曲) 付林词 6. Lullaby (摇篮曲) Lyrics: Fu Lin

Wo xin ai de bao bei yao, My dear baby, baby, baby. Bao bei yao bao bei, The moon is shining, it is time to sleep. Yue er zheng hao ni kuai shui yao, Your daddy is busy running among the Ni kuai shui yao ni kuai shui. mountains Ba ba ben bo zai qun shan li, And he works in the scientific prospecting Zhan dou zai ke xue kao cha dui. team. Dai dao shan hua kai man di yao, He will return home in triumph Wo men ying jie ta kai xuan gui. When the flowers are in full bloom in the Yue liang wang ni sa yin hui, mountains. Ma ma kan ni ru meng mei. The moon is looking at you with a silver glow, Wo xin ai de bao bei yao, Mum is watching you go to your dreams. Bao bei yao bao bei, My dear baby, baby, baby. er shan shuo ni kuai shui yao, The stars are shining; it is time to sleep. Ni kuai shui yao ni kuai shui. Mum is going to send a letter Ma ma hai yao xie hui xin yao, And tell your daddy not to worry. Rang ni ba ba xin kuan wei. Our heart will be with him Na pa ta zou qian wan li yao, Wherever he goes across thousands of Wo men he ta xin xiang sui. miles. Ye feng qing zou yao lan qu, The night wind is playing a lullaby softly. Bao bei bao bei ni kuai shui ni kuai shui. My dear baby, baby goes to sleep quickly.

7. A Young Girl’s Heart (阿妹的心) 7. A Young Girl’s Heart (阿妹的心） 黄田词 Lyrics: Huang Tian

Mian gui de fang xiang bei mi feng cai zou The fragrance of the osmanthus flower is luo, gathered away by bees, Tian bian de cai xia bei yun que dai zou luo. The skylark takes the rosy clouds in the sky Cu xin de ah ge yao, away. Zhi guan chui na hu lu si, My careless brother, you concentrate your Ni ke zhi ah mei de xin er yao attention on playing of the ,67 Bei ni qian zou luo? Do you know that you take my heart away? En！En! The glossy ganoderma plants68 on the cliff Ni ke zhi ah mei de xin er yao, grow too high, Bei ni qian zou luo? I can see them, but cannot reach them. Ai shang de ling zhi tai gao le, The jialan bird sings in the wild woods. Kan de jian cai bu zhao, It can be heard but it cannot be found. Jia lan niao zai mi lin li jiao, My careless brother, Ting de jian zhao bu zhao. You are not clever, you are not clever. Cu xin de ah ge yao, Could it be said that you cannot guess the Ni tai sha liao tai sha liao, younger girl’s heart? Nan dao ah mei de xin si yao, Ni jiu cai bu zhao? Why don’t you know the younger girl’s Cai bu zhao? heart? En…… En…..

67 A local flute, popular in Yun Nan Province. 68 A kind of traditional Chinese medicine. 77

8. Why Am I So Happy? 8. Why Am I So Happy? (我为什么这样 (我为什么这样快乐?) 戴富荣词 快乐?）Lyrics: Dai Furong

Ni wen wo wei shen me zhe yang kuai le, You ask me why I am so happy. Peng you ah ting wo chang yi zhi ge, My friend, listen to me sing a song: Ni kan na lan de da hai yao, Have a look at the great blue sea, Jing se duo mi ren xiong huai duo kai kuo, Its scenery is charming and it is the origin Rong na qian wan tiao jiang he, of my emotion. Piao zai ba fang de chuan bo, It can contain millions upon millions of rivers Ah da hai yao, And bear the weight of boats and ships, Da hai yao, which come from all directions. Na da hai zhong de xiao shui zhu, Ah! Great sea! Great sea! You yi di, you yi di jiu shi wo. There is a drop of water in the great sea. Ni wen wo wei shen me zhe yang kuai le, That is me that is me. Peng you ah ting wo chang yi zhi ge, You ask me why I am so happy. Ni kan na lü se de da di yao, My friend, listen to me sing a song: Ni xiang piao wan li tu zhi duo fei wo, Have a look at the great green earth. Cui kai xuan li de hua duo, The fragrance of the soil spreads ten Peng chu jin huang de shuo guo, thousand miles; And the quality of the soil is rich. Ah da di yao, da di yao, It urges gorgeous flowers to blossom, and it Na da di zhong de xiao ni sha, brings the golden, large, ripe fruits. You yi li, you yi li, Ah! Great earth! Great earth! jiu shi wo, Jiu shi wo. There is a grain of sand in the earth. That is me. That is me. (云啊, 云) 9. Ah, Clouds! (云啊, 云 顾城卫新词 9. Ah, Clouds! ) Lyrics: Gucheng and Weixin Feng ah feng, Ah wind, Kuai gei wo yi pian xue bai de yun. Give me a piece of white cloud please. Yun ah yun, Ah clouds, Ni ke ceng dai lai ta yuan fang de xin? Do you bring me a letter of his from far Tian tian zai pan ah, away? Ye ye zai deng, I have been looking for the letter every day Wo yao zhi dao ta ai wo de xin ling chun and waiting every night. bu chun. I need to know whether his love is pure. Feng ah feng, Ah wind, Kuai gei wo yi pian xue bai de yun. Give me a piece of white cloud please. Yun ah yun, Ah clouds, Ni ke ceng dai lai ta zhen zhi de xin? Do you show his sincere heart to me? Tian tian zai xiang ah, Ri ri zai wen, I have been thinking and asking myself Wo yao zhi dao ta dui wo de ai qing shen Whether he loves me deeply enough. bu shen.

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10. Early Winter (初冬) 王健词 10. Early Winter （初冬） Lyrics:

Shi zao lai de xue? Is it early snow? Shi chi dao de yu? Is it late rain? Zhe yang qing ying, It is light. Zhe yang piao yi. It is elegant. Ah！ Aha! Shi chu dong de bu lü, It is the symbol of early winter. Chu dong de bu lü. It is the symbol of early winter. Shi zao lai de xue? Is it early snow? Shi chi dao de yu? Is it late rain? Zhe yang qing xin, It is fresh. Zhe yang qin ni, It is intimate. Ah！ Ah! It is the anticipation of an early winter. Shi chu dong de hu xi, It is the anticipation of an early winter. Chu dong de hu xi.

Tou guo ku shou de shu zhi, I have seen tender leaves in bud on the Wo kan dao han bao de nen ye； slender branch. Tou guo dong de xiao he, I have seen joyful ripples in the freezing Wo kan dao huan tiao de lian yi； river. Tou guo chen shui de da di, I have seen the fresh leaves and green Wo kan dao wu bian de xin lü； everywhere through the peaceful earth. Tou guo hu xiao de bei feng, I have listened to the swallow twitters and Wo ting dao yan zi ni nan xi yu. soft words through the whistling wind.

Ah！ Ah! Chu dong, The early winter, Shi wo gei le ni yi yang de qing Should I give you a different sentiment? Hai shi ni gei le wo yi yang de mei li? Or have you given me a different sense of Ah！Chu dong, pleasure? Wen nuan de chu dong！ Ah! The early winter, Wo ying jie ni, Warm winter. Ying jie ni！ You are welcome! You are welcome! Ah！Chu dong, Shi wo gei le ni yi yang de qing xu Ah! The early winter, Hai shi ni gei le wo yi yang de mei li? Should I give you a different sentiment? Ah！Chu dong, Or have you given me a different sense of Wen nuan de chu dong！ pleasure? Wo ying jie ni, Ah! The early winter, Wo ying jie ni, Warm winter! Wo ying jie ni, I greet you! Ying jie ni！ I greet you!

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11. Ah! Eagle Flute (啊！鹰笛) 韩伟词 11. Ah! Eagle Flute (啊！鹰笛) Lyrics: Han Wei

Dang yue guang sa man pa mi er bing feng, When the full moonlight shone on the icy mu chang de shi hou, peak of Pamir, Shi shui chui xiang ying di sheng, And the moonlight flowed to the Xiang na ye ying de ge hou? pastureland, Di sheng piao guo xiao he, Who played the eagle flute? Is it like the Piao guo , singing of the nightingale? Piao guo cao cong,sha liu, The sound of the flute floated across the Tui kai shan men, small river and the orchard. Zuan jin zhang fang, It floated across the thick growth of grass qiao luo jin wo xin tou. and the desert, Ah! Ying di ah ying di, And pushed against the fence and tent; it Wo de xiao ying di, went to my heart silently. Ni ji dang zhe shao nü de xin fang, Ah, eagle flute, my little flute. Huan chu wo xin zhong de ge qu. You stir a maiden’s heart and arouse songs Di di li li li, from my heart. Di li li di li li li, Di li li di li li di li li di li, Di li li di li li di li li li … Di li li li di li li di li li di li li, Ah, the eagle flute! Ah! Ying di, Ah, the eagle flute! Ah! Ying di, Ying di, ying di!

Ru shui de yue guang rong jin le di sheng, The moonlight melts like water with the Duo me wei wan qing rou, flute. It is so soft, mild and everywhere.

Di sheng dai zhe mei hao de chong jing, The sound of the flute brings a bright future Piao xiang xin fu de lü zhou. and reaches the happy oasis. Ta zan mei lao dong, And reaches the happy oasis. Zan mei ai qing, It praises work and love; Sheng nong si mei jiu, life is like a beautiful wine. Zui ren de di sheng, The sound of the flute is intoxicating and Tian mi de xuan lü, the melody is sweet. Zai wo meng zhong chang liu. It flows into my dreams all the time Ah! Ying di ah ying di, Ah, eagle flute, Wo de xiao ying di, My little flute. Ni ji dang zhe shao nü de xin fang, You stir a maiden’s heart and arouse songs Huan chu wo xin zhong de ge qu. from my heart. Di li li di li li li , Di li li di li li di li li li … Di li li di li li li , Di li li di li li di li li li … Di li li di li li di li li di li, Di li li di li li di li li li … Di li li li di li li di li li di li li, Di li li di li li di li li li …

Ah! Ying di, Ah! Ying di, Ah, eagle flute! Ying di, Ah, eagle flute! Ying di! Yue guang xia de ying di！ The eagle flute under the moonlight!

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12. Who Knows My Yearning? 12. Who Knows My Yearning? (我的思 (我的思念有谁知道?）张士燮词 念有谁知道?) Lyrics: Zhang Shixie

Wo de si nian you shui zhi dao, Who knows my yearning? Wo de fan nao you shui zhi xiao, Who is aware of my worries? Wo gu du di pai huai zai hai tan, Alone, I wander along the beach. Ta zhe can yang, ting zhe hai tao. I look at the setting sun and listen to the Ah surging waves. Ah Wo ning wang zhe da hai chen si, I watch and meditate on the sea, Duo shao wang qi xin chao, Thoughts of the past fill my heart. Wo de si nian you shui zhi dao Who knows my yearning? You shui zhi dao. Who knows my yearning?

Wo de si nian you shui zhi dao, Who knows my yearning? Wo de ji mo you shui zhi xiao, Who is aware of my loneliness? Wo gu du di man bu zai yue xia, I wander under the moon alone. Ah, ah, Ah, the sea winds cannot make my heart Hai feng chui bu nuan wo de xin, warm. Ji mo de xin ah yi jing shuai lao. My lonely heart has died. Wo de si nian you shui zhi dao, you shui Who knows my yearning? zhi dao.

Wo de si nian you shui zhi dao, Who knows my yearning? Wo de you chou you shui zhi xiao, Who is aware of my sadness? Wo ceng xiang zhe da hai hu han, I once raised a cry to the sea. Mei you hui yin, zhi you feng tao. There was no response, only the surging waves. Ah, ah! Ah, ah! Wo ceng guo duo shao tuan yuan meng, I had many dreams of our reunion. Xing lai shi yi jiu huang gu dao, My heart was still desolate when I woke up. Wo de si nian you shui zhi dao, Who knows my yearning? You shui zhi dao? Who knows? Wo de si nian you shui zhi dao Who knows my yearning? You shui zhi dao? Who knows?

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13. Ripe Grapes in Turpan 13. Ripe Grapes in Turpan (吐鲁番的葡萄熟了) 瞿琮词 (吐鲁番的葡萄熟了) Lyrics: Qu Cong

Ke li mu can jun qu dao bian shao, Kelimu joined the army as a frontier guard, Lin xing shi zhong xia le yi ke pu tao, He planted grape vines before he left his duties, Guo yuan de gu niang ah na er han yao, A girl called Anarhan works in the vineyard Jing xin yu zhe lü se de xiao miao. carefully Cultivating the little green seed. Ah! Ah! Yin lai le xue shui ba ta jiao guan, She draws snow water to irrigate it, Da qi na teng jia rang yang guang zhao yao, And makes a trellis so the sunshine can warm it. Pu tao gen er zha gen zai wo tu, The root of the grape takes root in the earth, Chang chang man er zai xin tou chan , The long vine winds about her heart. Chang chang de man er zai xin tou chan rao.

Pu tao yuan ji du chun feng qiu yu, The vineyard enjoys the spring wind and autumn rain, Xiao miao er yi zhang de you you And the young seedling has grown strong gao, and tall.

Dang zhi tou jie man liao guo shi de shi hou, As the grapes grow they cross the full branches; Chuan lai ke li mu li gong de xi bao. Good news of Kelimu’s award is received.

Ah, Ah! Gu niang ah yao wang zhe xue shan shao The girl’s mind floats to the guard post on qia, Snow Mountain; Shao qu liao yi chuan chuan tian mei de pu She sends bunches of sweet grapes, tao, Tu lu fan de pu tao shou liao, The grapes of Turpan are mature, Ah na er han de xin er zui liao, Anarhan’s heart is full of joy … Ah na er han de xin er zui liao. Anarhan’s heart is full of joy … filled with joy … Tu lu fan de pu tao shou liao, The grapes of Turpan are mature, Ah na er han de xin er zui liao, Anarhan’s heart is full of joy … Ah na er han de xin er zui liao. Anarhan’s heart is full of joy … filled with Xin er zui liao. joy …

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14. A Young Girl from the South 14. A Young Girl from the South (南国少女) (南国少女) 任卫新词 Lyrics: Ren Weixin

Zong lü shu xia you wei shao nü, A young girl is under the palm, Qing qing chui qi yi zhi zhu di, She softly plays a . Tai xiao zhe zou lai wen ta, The sun smiles and walks to her, asking: Wei shen me di sheng zhe yang mei li? Why is the sound of the bamboo flute so beautiful?

Ah！Ah！ Ah! Ah! Di sheng chui xing nan guo de chun se, The sound of the bamboo flute rouses the Chun tian song lai sheng huo de hua yu. scenery of the spring in the south. The spring sends the rain and dew of life.

Bin lang shu xia you wei shao nü, A young girl is under the areca palm, Qing qing chang qi yi zhi ye qu, She softly sings a serenade. Yue liang wei xiao zhe zou lai wen ta, The moon smiles and walks to her, asking: Wei shen me ge sheng zhe yang shen qi? Why is your singing so miraculous?

Ah！Ah！ Ah! Ah! Ge sheng chang zui nan guo de qiu se, The singing makes the autumn scenery of the south become drunk. Chun tian song lai sheng huo de hua mi. Autumn brings the nectar of life.

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15. The Tea Song in March (三月茶歌) 15. The Tea Song in March (三月茶歌） 党永庵词 Lyrics: Dang Yongan

Nian nian you ge san yue san, The third of March comes each year, Cai cha jie mei shang cha shan. The girls pick tea leaves on Tea Mountain. They walk with tea baskets as if in the Shou wan cha lan yun zhong zou ao, clouds, Xi cai xin cha ge man yuan luo oh. The girls are happy to pick the fresh tea leaves singing on Tea Mountain.

Tai yang oh！ Ah! The sun! Zhao de cha shan mei ru hua, It shines on Tea Mountain, as beautiful as a Cha xiang (ge yao) chun lai zao, picture. Xiao sheng (ge yao) zhen zhen tian, Spring comes early in the tea village, The laughing of the girls is sweet, Shou peng xin cha ba ge chang yao, Holding the fresh tea in both hands and Cha shan you shi feng shou (yao) nian. singing a song, Another harvest year from Tea Mountain.

Hai luo yao ho luo ho luo, Hai luo yao ho luo ho luo, Hai luo yao ho luo ho luo, Hai luo ye! Hai luo yao ho luo ho luo, Cha shan you shi feng shou nian. Hai luo ye! Another harvest year from Tea Mountain. Nian nian you ge san yue san, Cai cha jie mei shang cha shan. The third of March comes each year, Cha ge xiang zhe bei jing chang yao, The girls pick tea leaves on Tea Mountain. The tea song carries all the way to Duo cai xin cha duo gong xian luo ho! 69 Beijing,

Cai bu jin Picking much fresh tea to make a great contribution. Man yuan chun se man shan qing, The spring scenery is endless, Cha xiang (ge yao) piao tian wai, The fragrance of the tea spreads Cha nong (ge yao) xiao kai yan, everywhere,

Wan dan xin cha xian zu guo yao, The tea farmers are very happy, Cha shan bei jing jin xiang lian. Plenty of fresh tea contributes to our Motherland, Tea Mountain and Beijing are closely Hai luo yo ho luo ho luo, connected. Hai luo yo ho luo ho luo, Hai luo yo ho luo ho luo, Hai luo ya! Hai luo yo ho luo ho luo, Cha shan bei jing jin xiang lian. Hai luo ya!

Luo ho ho ho Hei luo yao he luo he luo, Luo ho ho ho Tea Mountain and Beijing are closely Luo ho ho hai! connected.

69 A report on the harvest of tea leaves is normally sent to the Central Government in Beijing. 84

16. Celebration Song (祝酒歌) 韩伟词 16. Celebration Song (祝酒歌)70 Lyrics: Han Wei

Mei jiu piao xiang ah ge sheng fei, Amidst fragrant wine and cheerful songs, Peng you ah qing ni yi bei. My friends, let’s toast please. Cheers please! Sheng li de shi yue yong nan wang, A successful October is unforgettable. Bei zhong sa man xing fu lei. The glasses are filled with happy tears. Lai lai lai lai, lai lai lai lai, lai lai lai lai lai Lai lai lai lai, lai lai lai lai, lai lai lai lai, lai lai, lai lai lai lai, lai lai lai. Shi yue li, xiang chun lei, The spring thunder sounded in October, Ba yi shen zhou ju jin bei, The vast millions of the Divine Land71 are lifting their golden glasses. Shu xin de jiu ah nong you mei, The wine is mellow and sweet; Qian bei wan zhan ye bu zui. We can drink to the bottom.

Shou peng mei jiu ah wang bei jing, Holding the wine, looking over Bejing, Hao qing ah sheng guo chang jiang shui. Our passion is greater than the depth of the Jin xiu qiang dang zhi yin, Yangtze River water. Wan li shan zhao hui. The Communist Party leads us to a bright Lai lai lai lai, lai lai lai lai, lai lai lai lai lai future, lai, lai lai lai lai, And China will shine with glory. Zhan wei lai, wu xian mei, Lai lai lai lai, lai lai lai lai, lai lai lai lai; lai Ren ren xiong zhong chun feng chui, lai lai lai, A brilliant future is coming. Mei jiu jiao tou huo, The spring wind in the air warms our chests, Ran de dou zhi yong bu tui. The mellow wine arouses our enthusiasm to fight forever. Jin tian ah chang yin sheng li jiu, Today we drink the wine for victory; Ming ri ah shang zhen jin bai bei. While we will work hard with all our Wei liao shi xian si ge xian dai hua, energy tomorrow. Yuan sa re xue he han shui. We will put all our energy and hard work into achieving the Four Modernizations.72 Lai lai lai lai, lai lai lai lai, lai lai lai lai lai Lai lai lai lai, lai lai lai lai, lai lai lai lai lai, lai, lai lai lai lai, lai lai lai lai. Zheng tu shang, zhan gu lei, The working drum is beating on the journey, Tiao tiao zhan xian jie bao fei, Reports of victory are flying from each Dai dao li xiang hua hong tu, field.

Zan chong bai mei jiu zai xiang hui. We’ll hold up a glass of mellow wine again when the idealistic ambitions are coming Lai lai lai lai, lai lai lai lai, lai lai lai lai lai, true. lai lai lai lai, Lai lai lai lai, lai lai lai lai, lai lai lai lai lai, lai lai lai lai. Zan chong bai mei jiu ah zai xiang hui! We’ll meet again with the mellow wine!

70 The ‘’ was important leaders of the Chinese Central Government who repressed the arts during the Cultural Revolution. The Chinese Communist Party arrested the ‘Gang of Four’ in October 1976, at the end of the Cultural Revolution. All artists jumped for joy to celebrate the great victory. 71 A poetic name for China. 72 The Four Modernizations are: agriculture, industry, national defence, and science and technology. 85

17. The Merry Heart (欢乐的心) 17. The Merry Heart (欢乐的心) 倪维德词 Lyrics: Ni Weide

Huan le de xin yao zai jin bian gu shang Ah, my merry heart is beating ceaselessly tiao yao bu ting, in time with the gold-rimmed drum, Xing fu de ge yao zai jia ye qin shang liu Ah, you can hear endless happiness from bu jin. the jia ye harp. Qin ai de zu guo cong lai mei you jin tian The dear motherland is never as elated as it zhe yang gu wu huan xin, is today, Mei li de zu guo cong lai mei you jin tian The beautiful country has never been as zhe yang huan fa qing chun. splendid as it is today. Ah! Shi yue de da di shang xiang qi le na The spring thunder rolls across the earth in chun lei, October, Qu san le tian shang de wu yun. It dispels the dark clouds in the sky, Wen nuan de chun feng you chui bian da di, The warm winds are blowing over the earth Ying ge yan wu, fan hua si jin, again, The orioles sing and the swallows dart Huan le de xin yao zai jin bian gu shang quickly. tiao yao bu ting, Ah, my merry heart is beating ceaselessly Xing fu de ge yao zai jia ye qin shang liu in time with the gold-rimmed drum, bu jin. Ah, you can hear endless happiness from Qin ai de zu guo cong lai mei you jin tian the jia ye harp. zhe yang gu wu huan xin, The dear motherland is never as elated as it Mei li de zu guo cong lai mei you jin tian is today. zhe yang huan fa qing chun. Ah, kan wo men kai shi le xin de wei da We start to take the new and great long chang zheng, march, Qian cheng ah wu xian guang ming. The future promises brilliant prospects, The great goal of the Four Modernizations Si ge xian dai hua de mu biao, is calling for us Zhao hua wo men, sheng li jin jun. To march with victory, to march with victory.

Ah, ha ha ha, ah ah ah ah ah, Ah, ha ha ha, ah, ah, ah, ah, Huan le de xin yao tiao ye tiao bu ting, Ah, my merry heart is beating, Xing fu de ge yao liu bu jin, Ah, ah, liu bu jin! Ah, the happy singing is endless.

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18. The Ballad of Angelica in Taiwan 18. The Ballad of Angelica in Taiwan (台湾当归谣) 瞿琮词 (台湾当归谣) Lyrics: Qu Cong

Dang gui yao dang gui, Ah, angelica, angelica, Da lu de dang gui, You are from Mainland China, Sheng zai gu xiang de shan, You grow up in the mountains of our hometown, Zhang zai gu xiang de shui, And grow up with the water of our Shou peng dang gui wang ming yue, hometown. Angelica is in our hands while watching the Ge hai si xiang liang hong lei. bright moon, We yearn for our hometown across the sea Dang gui yai dang gui, with tears. Dang gui yao dang gui, Ah angelica, ah angelica, Qin ren yao wang hui, The kinsfolk are looking forward to Zu guo wang gui. returning, The country wishes to re-unite. Dang gui yao dang gui, Ah, angelica, angelica, Da lu de dang gui, You are from Mainland China, Xiang jiu yi xiang, You are like the bouquet of wine, Xiang mi yi yang gan mei. And you are sweet like honey. Pan wang zu guo kuai tong yi, We are looking forward to uniting, Wu xing hong qi ying zhao hui. Let the five star flag reflect the morning sunshine. Dang gui yao dang gui, Ah angelica, Dang gui yao dang gui, Ah angelica.

Er nü yao dang hui, The children should return home, Tai wan dang gui. Taiwan should come back to Mainland Ah, China! Er nü yao dang hui, Ah! Ah! Ah! The children should return home, Tai wan dang gui! Taiwan should come back to Mainland China!

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19. The Rainbow After Rain (雨后的彩虹) 19. The Rainbow After Rain (雨后的彩虹) 黄持一词 Lyrics: Huang Chiyi

Why is the rainbow after rain so beautiful? yu hou de cai hong luo yao yi, I will tell you by singing, my young friends. wei shen me ge wai mei li? nian qing de peng you luo yao yi, wo yong ge er gao su ni, Ah yao yi, ah yao yi, Ah yao yi ah yao yi, Because the rainbow rises in the wind and Zhi yin cai hong sheng qi zai feng yu li. the rain.

Why is the body of the rainbow so majestic? Cai hong de qing chun luo yao yi,

Wei shen me ge wai zhuang li? I will tell you by singing, my young friends. nian qing de peng you luo yao yi, wo yong ge er gao su ni,

Ah yao yi, ah yao yi, Ah yao yi ah yao yi, Because the rainbow melts in the blue sky. Zhi yin cai hong rong hua zai lan tian li.

Luoluo lili luoluo li, Luoluo lili luoluo li, Ah yao yi, ah yao yi, ah yao yi, Ah yao yi, ah yao yi, ah yao yi, Because the rainbow melts in the blue sky. Zhi yin cai hong rong hua zai lan tian li, The rainbow melts in the blue sky. Rong hua zai lan tian li.

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20. The Little Birds Are Singing in the 20. The Little Birds Are Singing in the Forest (林中的小鸟在歌唱) 顾工词 Forest (林中的小鸟在歌唱) Lyrics: Gu Gong

Lin zhong de xiao niao xai ge chang, The little birds are singing in the forest, Ge chang bai hua yuan de fen fang, They sing of the fragrance of a spring Shan cha hua hong de xiang huo yan, garden, hua xiang fei chi bang. The camellias are red like flames, Ah pan lai liao, wo pan lai liao, The fringed irises are like flying wings. Zhe wu bi mei hao de chun guang! Ah, how I look forward to the beautiful scenery of the coming spring. Ha ha ha ha ha ha ha ha ha ha, Ah ah ah ah ah, ah ah ah ah ah, Mei hao de chun guang! The beautiful spring scenery!

Lin zhong de xiao niao xai ge chang, The little birds are singing in the forest, Ge chang bai hua yuan de fen fang, They sing of the fragrance of a spring garden, Ding xiang hua xiang piao qian wan li, The fragrance of the lilac sprays carries Ying chun hua xiang xing xing fang guang across a thousand miles, mang. The winter jasmine flowers are shining like stars. Ah deng lai liao, wo deng lai liao, Ah, I have waited for the beautiful spring Zhe wu bi mei hao de chun guang! scenery. Ha ha ha ha ha ha ha ha ha ha, Ah ah ah ah ah, ah ah ah ah ah, Mei hao de chun guang! The beautiful spring scenery!

Lin zhong de xiao niao zai ge chang, The little birds are singing in the forest, Ge chang bai hua yuan de fen fang, They sing about the fragrance of the spring Yue ji hua chang nian kai bu bai, garden, Mu dan hua xiang mei li de lian pang. The China roses bloom all year, Wo men huan le wo men fen fa, The peony is like a beautiful face. Yao ying lai geng mei hao de chun guang! We are happy and we are rousing ourselves, Ha ha ha ha ha ha ha ha ha ha, We are waiting for the more beautiful Mei hao de chun guang! spring scenery.

Ah ah ah ah ah, ah ah ah ah ah, Ah ah ah ah ah, ah ah ah ah ah, Ah ah ah ah ah ah, ah ah ah ah ah ah, The beautiful spring scenery! Ah ah ah ah ah, ah ah ah ah ah, Ah ah ah ah ah, ah ah ah ah ah, Ah ah ah ah ah ah ah ah ah ah ah! Ah ah ah ah ah ah ah ah ah ah ah!

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Composer: Lu Zaiyi (Seven songs)

1. My Country, My Beloved Mother 1. My Country, My Beloved Mother （祖 (祖国,慈祥的母亲) 张鸿西词 国,慈祥的母亲） Lyrics: Zhang Hongxi Shui bu ai zi ji de mu qin, Yong na gun tang de chi zi xin ling. Everyone loves their own mother with the Shui bu ai zi ji de mu qin, warmest heart of human nature, Yong na gun tang de chi zi xin ling. There is no one who does not love their own mother with the warmest feelings of Qin ai de zu guo, ci xiang de mu qin, human nature. Chang jiang huang he huan ten zhe, Dear motherland, my beloved mother, Huan ten zhe shen qing, The Yangtze River and Yellow River rejoice at the passion, Wo men dui nin de shen qing. That is our passion for the country. Shui bu ai zi ji de mu qin, Everyone loves their own mother during the Yong na shan guang de mei miao qing chun. bright and wonderful days of their youth, Shui bu ai zi ji de mu qin, No one does not love their own mother in Yong na shan guang de mei miao qing chun. the bright and wonderful days of their Qin ai de zu guo, ci xiang de mu qin, youth. Lan tian da hai chu man zhe, Dear motherland, my beloved mother, Chu man zhe zhong cheng, The blue sky and great sea fully contain our Wo men dui nin de zhong cheng. loyalty, La la la, lalalalalala, lalalalala, lalalalala, That is our honesty for the country. La………. La la la, lalalalalala, lalalalala, lalalalala, La …

桥 2. The Bridge in My Homeland (桥) 2. The Bridge in My Homeland ( ) 于之词 Lyrics: Yu zhi

The small bridge has a different shape in Shui xiang de xiao qiao zi tai duo, the region of rivers and lakes of my

hometown. Shi ban feng li zhang ten luo, The wisteria has grown in the gaps between

the stone slabs. San bu liang qiao shui lian gang ah, One bridge connects another one between

the short lanes through the port. Tiao tiao yu dai ying bi bo. Each bridge shines blue in the water.

The girls shouldering lotus roots have a rest Gu niang tiao qiao tou xie, on the top of the bridge.

The men carry the crops to pass under the Lao han song niang qiao xia guo, bridge.

People still love the region of rivers and Li jia qian nian ye lian shui xiang ah, lakes; even when they have left home for

many, many years, Yuan zuo ren jian qiao yi zuo. Wishing to be a bridge of the world.

People still love the region of rivers and Li jia qian nian ye lian shui xiang ah, lakes; even when they have left home for

many years. Yuan zuo ren jian qiao yi zuo. Wishing to be a bridge of the world.

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3. Longing and Expectation (盼) 3. Longing and Expectation (盼） 佚名词 Lyrics: Anonymous

Hui lai ba, Come back, Ceng gei wo huo li de shen ying. The figure that once gave me energy. Hui lai ba, Come back, Ceng gei wo shen ji de yan se. The colour that once gave me vitality. Ah qing yuan liang lu mang, Ah, forgive my recklessness please! Qing yuan liang guo cuo. And forgive my fault please! Lan tian bu neng wu yun duo, The blue sky cannot exist without clouds. Xin er bu neng zai jiao . The heart cannot be anxious again. Ah, Ah. Ah! Chun yu shi wo deng ni de lei, The spring rain is my tears from waiting for He liu shi wo pan ni de ge, you, The river is my song of longing and Chun yu shi wo deng ni de lei, expecting you. He liu shi wo pan ni de ge. The spring rain is my tears from waiting for you, Hui lai ba, hui lai ba, The river is my song of expecting you. Hui lai ba. Come back, Come back,

Hui lai ba, Come back! Ceng gei wo huo li de shen ying. Come back, Hui lai ba, The figure that once gave me energy. Ceng gei wo sheng ji de yan se. Come back, The colour that once gave me vitality. Ah qing yuan liang lu mang, Ah, forgive my recklessness please! Qing yuan liang guo cuo. And forgive my fault please! Lan tian bu neng wu yun duo, The blue sky cannot exist without clouds. Xin er bu neng zai jiao zhuo. The heart cannot be anxious again. Ah, ah! Ah! Chun yu shi wo deng ni de lei, The spring rain is my tears from waiting for He liu shi wo pan ni de ge, you, Chun yu shi wo deng ni de lei, The river is my song of longing and He liu shi wo pan ni de ge. expecting you. Hui lai ba, The spring rain is my tears from waiting for Hui lai ba, you, Hui lai ba, The river is my song of expecting you. Hui lai ba, Come back, Come back, Ah! Ah! Hui lai ba. Come back! Come back,

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4. The Last Dream (最后一个梦) 4. The Last Dream (最后一个梦) 张鸿西词 Lyrics: Zhang Hongxi

Zuo liao duo shao hui meng, I dreamed many times, Hui hui meng xiang tong, But it was the same dream each time; Ci mu ai, er nü lei, There was a loving mother and her tearful children; Gu rou xi xiang feng. The families were happy to get together. 73 Chong yang gao, duan yang zong, The cakes of the Double Nine Festival Xiang tu qing yi nong, and rice pudding of the Dragon Boat 74 Festival Xiang tu qing yi nong, Had a strong local flavour.

Zuo liao duo shao hui meng, I dreamed many times, Hui hui meng xiang tong, But it was the same dream each time; Hu die lan, xiang si shu, There were iris flowers and acacia trees. Hua kai yu chun feng. They were bathed by the spring wind to come into flower. fei, lang hua xiao, The white clouds were flying and the waves Liang an jia cai hong. were smiling. There was a rainbow from Mainland China to Taiwan. Hai xia,hai xia, Taiwan Straits! The Straits! Dan yuan zhe shi zui hou de meng, I wish that this were the last dream, the last Zui hou yi ge meng, dream.

Hai xia, hai xia, The Straits! The Straits! Ming tian zhen de tuan ju zai gu xiang ming yue zhong, Wishing that the dream came true to reunite Gu xiang ming yue zhong. in the bright moonlight of my hometown.

73 The Double Nine Festival is a Chinese traditional festival that is celebrated on the ninth day of the ninth month. People customarily climb mountains, drink chrysanthemum wine, and eat double-ninth cake. The Double Nine Festival is also a time for family get-togethers. It is an occasion to remember their ancestors. 74 The Dragon Boat Festivals is a traditional custom commemorating the rescue of the patriotic poet . Qu Yuan drowned on the 5th day of the 5th lunar month in 277 B.C. Chinese people threw bamboo leaves filled with cooked rice into the water so that the fish would eat rice rather eat than the poet. This later on turned into the custom of eating rice dumplings at the Dragon Boat Festival. 92

5. Poetry of Looking over My Home 5. Poetry of Looking over My Home 望乡词 诗 ( ) 于佑任 (望乡词) Poem: Yu Youren

Buried on the top of the mountain, Zang wo yu gao shan zhi shang xi, Wang wo gu xiang： I looked over my hometown. Gu xiang bu ke jian xi, I could not see my hometown. Gu xiang bu ke jian xi, I could not see my hometown. Yong bu neng wang! But I could never forget it.

Zang wo yu gao shan zhi shang xi, Buried on the top of the mountain, ： Wang wo da lu I looked over the mainland. Da lu bu ke jian xi, The mainland could not see, Da lu bu ke jian xi, The mainland could not see, Zhi you tong ku! Only my bitter cry is left.

Tian cang cang, Vast is the sky, Ye mang mang, Boundless the wilderness. Shan zhi shang, Buried on the top of the mountain, Guo you shang. I see my motherland mourning. Tian cang cang, Vast is the sky, Ye mang mang, Boundless the wilderness. Shan zhi shang, Buried on the top of mountain, Guo you shang. I see my motherland mourning. Ah, ah, Ah! Ah! Ah, ah! Ah! Ah! Zhi you tong ku! Only my bitter cry is left. Tian cang cang, Vast is the sky, Ye mang mang, Boundless the wilderness. Shan zhi shang, Buried on the top of the mountain, Guo you shang. I see my motherland mourning. Tian cang cang, Vast is the sky, Ye mang mang, Boundless the wilderness. Shan zhi shang, Buried on the top of the mountain, Guo you shang. I see my motherland mourning. Tian cang cang, Vast is the sky, Ye mang mang, Boundless the wilderness. Shan zhi shang, Buried on the top of the mountain, Guo you shang. I see my motherland mourning. Shan zhi shang, Guo you shang. Buried on the top of the mountain, Shan zhi shang, I see my motherland mourning. Guo you shang.

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6. Where Is My Home? (家) 6. Where Is My Home? (家) 孙新凯词 Lyrics: Sun Xinkai

Jia ah jia, Ah, home, where is my home? Jia zai na? The home is not under the eaves of others. Jia bu zai ren jia de wu yan xia, The home is my long dream of Jia zai chang chang de xiang chou li, homesickness. Homesickness made me worry for many Chou liao jiu shi jiu ge xia….. summers …

Jia xiang na tai yang yuan yuan di nuan, Home is like the sun that warms from far Jia xiang na yue er gao gao di gua, away. Home is like the moon that hangs in the sky. Jia xiang na tai yang yuan yuan di nuan, Home is like the sun that is warm from a Jia xiang na yue er gao gao di gua, long distance. Jia xiang na yue er gao gao di gua, Home is like the moon that hangs in the sky.

Jia ah jia, Ah, home, where is my home? Jia zai na? Home is not be found in the wooden Jia bu zai ta xiang de zhu li xia, shelters of other towns, Jia zai wan wan de huang he bian, Home is beside the winding Yellow River, Deng le jiu shi jiu ge xia…… That I wanted for many summers …

Jia shi na yan zi hui gui de chao, Home is a nest that birds return to. Jia shi na er nü si nian de ma, Home is like a mother that sons and Jia shi na yan zi hui gui de chao, daughters yearn for. Jia shi na er nü si nian de ma, Home is a nest that birds return to. Home is like a mother that sons and Jia shi na er nü si nian de ma. daughters yearn for. Ah, ah. Ah, ah! Ah, ah. Ah, ah!

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7. I Love This Land (我爱这土地) 7. I Love This Land (我爱这土地) 艾青诗 Lyrics: Ai Qing

Jia ru wo shi yi zhi niao, wo ye ying gai If I were a bird, I would sing with my yong si ya de hou long ge chang: hoarse voice, Jia ru wo shi yi zhi niao, wo ye ying gai If I were a bird, I would sing with my yong si ya de hou long ge chang: hoarse voice, Zhe bei bao feng yu suo da ji de tu di, Singing about the lands that were attacked Zhe yong yuan xiong yong zhe wo men bei by blizzards, fen de he liu, Singing about the constantly surging, sad Zhe xi cui gua zhe de ji nu de feng and angry river. ah, He na lai zi lin jian wen rou de li ming, The enraged wind that blew unceasingly. Zhe wu zhi xi cui gua zhe de ji nu de feng And the soft dawn in the forest … ah, He na lai zi lin jian wen rou de li ming. Ran hou wo si liao, Then, I would die. Lian yu mao ye fu lan zai tu di , Even my feathers would rot in the soil. Wei shen me wo de yan li chang Why my eyes are often filled with tears? shui? Yin wei wo dui zhe tu di ai de shen Because I loved this land deeply. chen……

Jia ru wo shi yi zhi niao, wo ye ying gai If I were a bird, I would sing with my yong si ya de hou long ge chang, hoarse voice, Jia ru wo shi yi zhi niao, wo ye ying gai If I were a bird, I would sing with my yong si ya de hou long ge chang, hoarse voice, Zhe bei bao feng yu suo da ji de tu di, Singing about the lands that were attacked Zhe yong yuan xiong yong zhe wo men bei by the blizzards, fen de he liu, Singing about the constantly surging, sad Zhe wu zhi xi cui gua zhe de ji nu de feng and angry river. ah, He na lai zi lin jian wen rou de li ming, The enraged wind that blew unceasingly. Zhe wu zhi xi cui gua zhe de ji nu de feng And the soft dawn in the forest … ah, The enraged wind that blew unceasingly. He na lai zi lin jian wen rou de li ming. And the soft dawn in the forest … Zhe wu zhi xi cui gua zhe de ji nu de feng ah, He na lai zi lin jian wen rou de li ming…… Then, I would die. Ran hou wo si liao, Even my feathers would rot in the soil. Lian yu mao ye fu lan zai tu di li mian, Why my eyes are often filled with tears? Wai shen me wo de yan li chang han lei shui? Yin wei wo dui zhe tu di ai de shen Because I loved this land deeply. chen…… Ah, ah Ah! Ah! Ah! Ah! Yin wei wo dui zhe tu di ai de shen Because I loved this land deeply. chen……

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Composer: Shang Deyi (Seventeen songs)

1. Do You Forget Me, My Teacher? 1. Do You Forget Me, My Teacher? (老师, 你可把我忘记?) 牛世生词 (老师你可把我忘记?） Lyrics: Shisheng

San yue de chun feng chui kai le tao li, The spring winds in March blow the peach Zhan zai zhe yue guang xia wo xiang qi le and plum blossoms. ni, I remembered you when I stood in the Ye xu ni yi jing ba wo wang ji, moonlight. Ke shi wo, wo yong yuan wang bu liao ni, You might forget me, but I cannot ever forget you. Wang bu liao ni. I cannot ever forget you. Shi ni zai wo tong nian de meng li, You played the mystical magic flute in my Chui xiang le shen qi de mo di, childhood dreams. Cong ci wo, wo de sheng ming cai you le From this time on, my life has searched for xiang wang de han yi, meaning. Xiang wang de han yi.

Shi ni zai wo qing chun de gang wan li, You lifted the tide of idealism in the Ba li xiang de feng fan sheng qi, harbour of my youth, Cong ci wo, wo de ren sheng cai dong de From that time onwards, I have understood zhui qiu de yi yi, the pursuit of meaning in my life. Zhui qiu de yi yi. Dang wo chi cheng zai liao kuo da di, When I travelled across vast the expanse of Dang wo zai shou huo zhe qiu tian de tian land, mi, When I enjoyed the sweetness of autumn, Lao shi ni zai na li? Lao shi ni zai na li? Where are you, my teacher? Ni zai na li, Where are you, my teacher? Ni zai na li? Where are you? Ke zhi dao wo, Where are you? Wo duo me xiang nian ni, Wo duo me xiang nian ni. Do you know how much I miss you?

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2. Night in the Great Desert (大漠之夜) 2. Night in the Great Desert（大漠之夜） 邵永强词 Lyrics: Shao Yongqiang

Yue se meng long, The moonlight is dim; the stars are shining. Xing guang shan shuo, The train is marching in the endless Yi dui luo tuo xing jin zai wu bian de sha desert. mo. The boundless desert is quiet and vast. Han hai mang mang ji jing liao kuo, The sound of the bells on the drifts Tuo ling sheng sheng cong ye mu zhong in the dark night. piao guo. Ah luo tuo！Luo tuo！ Ah, camel! Camel! Luo tuo! Luo tuo！ Camel! Camel! Yao wang yuan fang ni huai zhe jian ren de You cherish enduring tenacity, see distant zhi zhuo, places, Yi bu yi bu zai mo mo di ba she. And you trek step by step silently. Ah, wu yuan wu hui ni tuo zhe chong jing Ah, you carry on your back a longing for de sheng huo, life without enmity and regret, Wu lun dao lu shi duo me man chang duo No matter how long and bumpy the road is. me kan ke. Ah! Ah, luo tuo！Luo tuo！ Ah, camel! Camel! You bear the thirst of the journey and face Mian dui feng sha ni ren zhe lü tu de gan ke, the sand blown by the wind,

And you trek in the hope of success from Yi cheng yi cheng zai xi wang zhong ba she. one vast distance to another. Chun qu qiu lai ni chuan guo jin se de sui You crossed the golden time from the yue, spring to the autumn, Ying zhe shu guang ni bu ting jin qu bu ting You keep forging ahead and keep going, ben bo. facing the dawn.

Yue se meng long, The moonlight is dim; the stars are shining, Xing guang shan shuo,

The camel train is marching in the endless Yi dui luo tuo xing jin zai wu bian de sha desert. mo. The boundless desert is quiet and vast. Han hai mang mang ji jing liao kuo, The sound of the bells on the camels wafts Tuo ling sheng sheng cong ye mu zhong across the desert in the dark night. piao guo. Ah! Ah! Ah, ah, ah, ah, Ah! Ah! Ah, ah, ah, ah!

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3. The Motherland Will Be in My Heart 3. The Motherland Will Be in My Heart Forever (祖国永在我心中) Forever (祖国永在我心中) 赵兰词 Lyrics: Zhao Lan

Wo ceng you shu bu qing de meng, I once had many dreams. Mei ge meng dou you ni de shen ying, You figure in all my dreams, Wo chang guo shu bu qing de ge, I have sung plenty of songs; Mei shou ge dou ba ni zan song. Each song praised you. Lü shui qing shan yang yu wo, The green water and mountain brought me up, Yang guang chun feng ban wo xing, The sunshine and the spring wind accompanied my journey, Wo de sheng ming wo de ai, My life and my love are in the embrace of Dou zai zu bao zhong, the motherland, Ah! For days and days; Ah, Zhao zhao mu mu, li ming, Late at night and at dawn, Zu guo ni yong zai wo xin zhong, The motherland, you are in my heart forever. Ah, Zhao zhao mu mu,shen ye li ming, Ah! For days and days; Zu guo ni yong wo xin zhong. Late at night and at dawn, The motherland, you are in my heart forever. Wo ceng you shu bu qing de meng, I once had many dreams; Mei ge meng dou you ni de xiao rong, Your smile is in all my dreams, Wo zou guo shu bu qing de lu, I visited many places, Mei tiao lu dou tong xiang bei jing. Every place always pointed me to Beijing. The Yellow River and Kun Lun Mountains Huang he kun lun su zao wo, fostered me, Wan li chang cheng wan dai qing, The Great Wall sparked affection for generations and generations, Wo de li xiang he chuang zao, My ideal and actions followed the Ban sui zu guo qi fei teng, motherland, soaring together. Ah, Ah! Tian nan hai bei, chun xia qiu dong, The southern sky and northern sea. Zu guo ni yong zai wo xin zhong, The spring, summer, autumn and winter, Ah, The motherland, you are in my heart Tian nan hai bei, chun xia qiu dong, forever. Zu guo ni yong yuan zai wo xin zhong, Ah! Ah, The southern sky and northern sea. Tian nan hai bei, chun xia qiu dong, The spring, summer, autumn and winter, Zu guo ni yong yuan zai wo xin zhong. The motherland, you are in my heart forever.

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4. Love Song of the Pastureland (牧场情 4. Love Song of the Pastureland (牧场情 歌) 邵永强词 歌) Lyrics: Shao Yongqiang

Qing chen wo mu yang shang shan bo, I shepherded the flock on the hillside in the morning. Zong ai cong ni de zhan fang guo, I always passed in front of your tent. Bu shi wo xi huan rao dao zou, It is not that I like taking a devious route, Shi xiang yao ting ting ni de ge. I just want to listen to your singing.

Qing chen wo mu yang shang shan bo, I shepherded the flock on the hillside in the Zong ai cong ni de zhan fang guo, morning. Bu shi wo xi huan rao dao zou, I always passed in front of your tent. Shi xiang yao ting ting ni de ge. It is not that I like taking a devious route, I just want to listen to your singing. Ai, Ai, Ma yi la ya ma yi la！ Mayila, Mayila, Ma yi la ya ma yi la！ Mayila, Mayila. Ni de ge sheng duo me tian, Your voice is so sweet, Jiu xiang na liu mi de xiao he, It is like the river that flows with honey. Ni de ge sheng duo me tian, Your voice is so sweet, Jiu xiang na liu mi de xiao he. It is like the river that flows with honey.

Huang hun wo gui lai xia shan bo, When I went downhill at dusk, Zong ai cong ni de zhan fang zuo, I always liked sitting in your tent. Bu shi wo yi tian tai lao lei, It was not that I was tired after a day’s work, Shi xiang yao he ni ba hua shuo. It was because I just wanted to talk with you. Huang hun wo gui lai xia shan bo, When I went downhill at dusk, Zong ai cong ni de zhan fang zuo, I always liked sitting in your tent. Bu shi wo yi tian tai lao lei, It was not that I was tired after a day’s work, Shi xiang yao he ni ba hua shuo. It was because I just wanted to talk with Ai, you. Ma yi la ya ma yi la！ Ai, Ma yi la ya ma yi la！ Mayila, Mayila, Ni de xiao rong duo me mei, Mayila, Mayila. Jiu xiang na sheng kai de hua yi duo. Your smile is so beautiful, Ni de xiao rong duo me mei, It is like a flower that is in full bloom. Jiu xiang na sheng kai de hua yi duo. Ai, Ma yi la ya ma yi la！ Mayila, Mayila, Mayila, Mayila, Ma yi la ya ma yi la！ Your smile is so beautiful. Ni de xiao rong duo me mei, It is like a flower that is in full bloom. Jiu xiang na sheng kai de hua yi duo, Mayila! Ma yi la！

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5. Teacher, I Always Remember You (老 5. Teacher, I Always Remember You (老 师, 我总是想起你) 师, 我总是想起你) 常春城词 Lyrics: Chang Chuncheng

Mei dang wo gong xia nan guan shou dao Whenever I receive a reward for jiang li, completing hard work, Ah lao shi wo zong shi xiang qi le ni, Ah, my teacher, I always remember you, Xiang qi le ni, Remembering your soft face, affable smile Xiang qi ni qin qie de mian rong, and voice, Xiang qi ni he ai de xiao yu, Ah, Ah, Cong xin li mo mo di xiang ni zhi yi, I sent my greeting to you in my heart Xiang ni zhi yi. quietly. Ah, Ah, Qin ai de lao shi wo zen neng wang ji ni, My dear teacher, how could I ever forget Wo zen neng wnag ji ni, you?

Xiao miao er jie chu shuo guo zen neng The young plant has born fruit; it cannot wang chun feng chun yu, forget the spring wind and rain. Ah, Ah, Qin ai de lao shi wo zen neng wang ji ni, My dear teacher, how could I forget you? Wo zen neng wnag ji ni, Ni shi shi ke ke chang zai wo xin li, You are in my heart forever. Chang zai wo ni chang zai wo xin li.

Mei dang wo you le chuang zao de dao When I won honour for my creation, rong yu, Ah lao shi wo zong shi xiang dao le ni, Ah, teacher, I always remember you, Xiang dao le ni, Xiang dao ni ci mu de xin chang, Remembering your heart was like a loving Xiang dao ni shen qie de jiao yi. mother, and your profound advice, Ah, Ah, Cong xin li mo mo di xiang ni jing li, I gave you a salute in my heart silently. Xiang li. Ah, Ah, Qin ai de lao shi wo zen neng wang ji ni, Dear teacher, how could I forget you? Wo zen neng wnag ji ni, er tu chu fen fang zen neng wang The tender flower has bloomed; it cannot yuan ding de pei yu, forget the gardener’s nurture. Ah, Ah, Qin ai de lao shi wo zen neng wang ji ni, My dear teacher, how could I forget you? Wo zen neng wnag ji ni, You are in my heart forever. Ni shi shi ke ke chang zai wo xin li, Chang zai wo ni chang zai wo xin li. You are in my heart forever. Chang zai wo ni chang zai wo xin li.

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6. A Yearning Song to Mother (缅怀母亲 6. A Yearning Song to Mother (缅怀母亲 的歌) 孙振春，邵永强词 的歌) Lyrics: Sun Zhenchun and Shao Yongqiang

Shi qu mu qin de shang tong rong wo nan It is difficult to heal the sorrow of losing yi fu ping, one’s mother, Wei shen me? Wei shen me? Why is this so? Why is this so? Wo zui qin de ren yi qu bu zai fu fan yi qu My dearest is gone forever. bu zai fu fan? Tai yang jin zhao xia shan le ming tian hai The sun falls behind the mountain today, hui sheng qi lai, And it will rise tomorrow. Yue liang jin xi can que le dai dao shi wu The moon is not full today, hai hui yuan, Hai hui yuan. And it will be full in fifteen days. Wei shen me wo he mu qin fen ge jiu zai na yi tian！ Why were mother and I separated on this day? Fen ge jiu zai na yi tian! Once mother always worried me. Hui xiang mu wang zong shi ba wo gua qian, The memory of her working hard always Nin na cao lao de shen ying zong zai wo de remains in my heart. xin zhong fu xian. Her child has grown up, Er you zhang jin le, Her face lit up with joy, Chang jian nin chun feng fu mian, The child had faults, Er you guo shi, She felt secretly sad. Chang jian nin an zi xin suan. Experiencing hardship on the path of life to Ren sheng lu shang ji duo feng yu, ji duo give me a good experience. mo lian, The child’s step is always advancing in the Er de jiao bu zong zai nin de mu guang mother’s sight. zhong xiang qian.

Mother, do you hear that I am calling you? Mu qin nin ke ting jian er zai xiang nin hu huan, Mother! Your love is higher than the blue Mu qin！Nin de en qing gao guo lan tian, sky.

Wei shen me mu qin zou de na me yao Why has mother gone such a long way? yuan,

Qin qing yi bei sui yue ru ci wu qing ge Love has been ruthlessly cut off by the duan, years, Wei shen me mu qing zou de na me yao yuan, Why has mother gone such a long way? Na me yao yuan? Such a long way? Na me yao yuan? She left the perpetual yearning to me. Liu gei wo yong jiu de si nian, si nian.

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7. The Hunchback of Notre Dame (巴黎 7. The Hunchback of Notre Dame (巴黎 圣母院的敲钟人) 志同词 圣母院的敲钟人) Lyrics: Zhi Tong

Zai fa guo ba li sheng mu yuan, In Notre Dame in Paris, France, You yi ge gu du de qiao zhong ren, There is a lonely hunchback bell-ringer. Sui ran ta de wai biao chou lou, Although his appearance is not handsome, Ke shi ta que you yi ke mei li shan liang de He has a kind and soft heart. xin. Ta nian nian, ta sui sui yue yue sheng He rings the big bell in Notre Dame, sheng qiao zhe na jiao tang de da zhong. From one year to another, from time to Zhe zhong sheng duo me hun hou xiang time. liang, The bell vibrates with powerful resonance. Zhe zhong sheng duo me shen fen, The sound is so deep and filled with zhe zhong sheng dang dang zhen tian dong indignation. di, The sound shakes heaven and earth. Zhe zhong sheng zhen zhen qian ren shen The sound stirs people’s souls. hun. Zhe zhong sheng chuan song zhe ta na chi The bell sound delivers honest love, cheng de ai, And expresses his hatred from the bottom Ye qing su zhe ta na mai zai xin di de hen, of his heart. Zhe zhong sheng chuan song zhe ta na chi The bell sound delivers honest love, cheng de ai, And expresses his hatred from the bottom Ye qing su zhe ta na mai zai xin di de hen. of his heart.

Zai fa guo ba li sheng mu yuan, In Notre Dame in Paris, France, You yi ge gu du de qiao zhong ren, There is a lonely hunchback bell-ringer. Sui ran ta zong shi mo mo bu yu, Although he is always very quiet, Ta que dui shi tai kan de qing He clearly understands the fickleness of the qing zhen zhen. world. Ta ru ku, ta gao shang chun jie, He is a gallant and pure man, who Ke shi zhong wei tao tuo ta bei can de ming bitter hardship, yun. But he could not escape from his tragic destiny. Zhe zhong sheng duo me hun hou xiang The bell vibrates with strong resonance. liang, The sound is so deep and filled with Zhe zhong sheng duo me shen chen ji fen, indignation. Zhe zhong sheng dang dang zhen tian dong The sound shakes heaven and earth. di, The sound stirs people’s souls. Zhe zhong sheng zhen zhen qian ren shen hun. He would rather accompany the gypsy Ta ning yuan pei ban na si qu de ji pu sai gu girl’s cold body, niang, To complement his likewise cold heart. Liao que ta na yi ke zao yi bing leng de xin. He would rather accompany the gypsy Ah, ah, Ah, ah. Ah, ah, ah! Ah! girl’s cold body, Ta ning yuan pei ban na si qu de ji pu sai gu To complement his likewise cold heart. niang, Ah, ah, ah, ah, ah, ah, ah, ah! He would rather accompany the gypsy Liao que ta na yi ke zao yi bing leng de xin, girl’s cold body, Bing leng de xin. To complement his likewise cold heart.

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8. I Left My Dear Girl (我离开心爱的姑 8. I Left My Dear Girl (我离开心爱的姑 娘) 曽宪瑞词 娘) Lyrics: Zeng Xianrui

Wo li kai xin ai de gu niang, I left my dear girl to come to the frontier. Lai dao bian jiang, Wo zen neng bu xiang qi ta, How could I not think of her charming face? Ta na mi ren de mo yang, Ta na mi ren de mo yang. Although she is a long distance from me, Ta sui ren sui ren li wo qian li wan li, It seems that she is beside me constantly. Que hao xiang shi ke dou zai wo de shen pang. Shi ke dou zai wo de shen pang. Ah, ah, Ah, ah, She always stays with me. Shi ke dou zai wo de shen pang. Ah, dou zai wo de shen pang.

Wo li kai xin ai de gu niang, I left my dear girl to come to the frontier. Lai dao yuan fang, Lin bie shi ta zeng gei wo, When we parted, she gave me a small Ta de xiao xiao zhao pian yi zhang, photograph of her as a gift. Ta de xiao xiao zhao pian yi zhang. Wo ba ta ba ta cang zai wo de shen shang, I hid it on my body. Jiu hao xiang ye ye dou zai ban wo ru meng It accompanies me into my dreams every xiang. night. Ye ye dou zai ban wo ru meng xiang. Ah, ah. Ah! Ah! Ye ye ban wo ru meng xiang. It accompanies me into my dreams every Ah! night. Ban wo ru meng xiang. Ah, ah! Ah, ban wo ru meng xiang. It accompanies me into my dreams every Ah, ah, night. Ye ye ban wo ru meng xiang. Ah, ban wo ru meng xiang. Ah! Ah! Ah, ah!

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9. Karakoram (喀喇昆仑) 9. Karakoram75 (喀喇昆仑) 李幼容词 Lyrics: Li Yourong

Zai xiong ying de chi bang shang, A soaring white cloud is holding onto the Tuo zhe yi pian fei xiang de bai yun, wing of a great eagle, Zai fei xiang de bai yun shang, A green mountain stands on the soaring Chu qi yi zuo lü se de shan lin, white cloud, Zai shan lin de shao wei shang, At the guard post on the green mountain, Zhan zhe yi ge qiang de ren, There is a sentinel on guard at the castle, Shan lin de shao wei shang, At the guard post on the green mountain, Zhan zhe yi ge kang qiang de ren, There is a sentinel on guard at the castle. Ah, kang qiang de ren.

Ah, zhe jiu shi ni, zhe jiu shi ni. Ah, this is you, this is you, Da feng xue chui bu dao de ka la kun lun. You are like Karakoram where the strong snows cannot blow you down. Ah, zhe jiu shi ni, zhe jiu shi ni, Ah, this is you, this is you, Gao song zai bian guan de ka la kun lun, You stand erect at the frontier of Ka la kun lun. Karakoram.

Zai mu qin de yan jing li, A distant star shines in the mother’s eyes, Liang zhe yi ke yuan fang de xing chen, A group of frontier guards walk to the star’s Zai xing chen de gu shi li, story. Zou jin yi dui wei wu de bian fang jun, Zai bian fang jun de lie li, In the ranks of frontier guards, You wo meng zhong si niang de ren, There is a man I yearned for in my dreams. Bian fang jun de hang xing li, In the ranks of frontier guards, You wo meng zhong si niang de ren. There is a man I yearned for in my dreams. Ah, si nian de ren. Ah, this is you, this is you, You are full of the grandeur of Karakoram, Ah, zhe jiu shi ni, zhe jiu shi ni, Ah, this is you, this is you, Xin shi dai zui chuang mei de ka la kun lun. You are like Karakoram that raises its head Ah, high in the clouds. Zhe jiu shi ni, zhe jiu shi ni, Ang shou zai yun hai de ka la kun lun, Karakoram, Karakoram, Ka la kun lun. You defend the western gate of the Ka la kun lun. Ka la kun lun. Motherland, Ni shou wei zhe zu guo de xi da men, Ka la kun lun, Ka la kun lun, Karakoram, Karakoram, Ni shi xing fu huan le de shou hu shen, You are the angel of happiness and Shou hu shen, enjoyment. Ka la kun lun！ Karakoram!

75 The Karakoram is a large mountain range spanning the borders between Pakistan, and China. It is located in the region of Gilgit-Baltistan, Ladakh and southern Xinjiang. 104

10. I Left My Heart Here (我把心儿留在 10. I Left My Heart Here (我把心儿留在 这里) 邵永强词 这里) Lyrics: Shao Yongqiang

Sui ren wo wo yao li kai zhe pian tu di, Although I am going to leave this place, Li kai zhe pian tu di, Wo que ba wo de xin er liu zai zhe li, I left my heart here. Wo ba xin er liu zai zhe li. Zhe li de yi cao yi mu, Here, every tree and bush is connected with Dou yu wo de ku le xiang xi, my hardship and happiness. Yi cao yi mu dou yu wo de ku le xiang xi xiang xi. Sui ren wo wo yao li kai zhe pian tu di, Although I am going to leave this place, Li kai zhe pian tu di, Wo que ba wo de xin er liu zai zhe li, I left my heart here. Wo ba xin er liu zai zhe li. Zhe li de fu lao xiang qin, Here, the fellow countrymen are just like Dou qin ru wo de jie mei xiong di, my brothers and sisters. Fu lao xiang qin qin ru wo de jie mei xiong di, xiong di. Ah, wo ba xin er liu zai zhe li, liu zai zhe li. Ah, I left my heart here. Ni kan na! Ni kan na xue shan shang de bai Looking at the white clouds of Snow yun lü lü, Mountain, Ni kan na! Ni kan na ge bi tan de hong liu Looking at the rose willow of the Gobi yi yi, Desert I am reluctant to part, Jiu shi wo jiu hao bi shi wo na juan lian de That is me, si xu, It is just like my sentimental thinking. Juan lian de si xu. Ah, wo ba xin er liu zai zhe li, liu zai zhe li. I left my heart here. Ni kan na！Ni kan na juan juan xiao he fei Looking at the waves splashing in the jian de lang hua, trickling stream. Ni kan na！Ni kan na cao yuan shang de Looking at the drizzle on the grassland, meng meng xi yu, Jiu shi wo jiu hao bi shi wo na xi bie de lei That is me. That is just my tears at my di, unwillingness to part. Xi bie de lei di. Ah, ah! Ah, ah, Ah, ah, ah, That is me. That is just my tears at my Jiu shi wo xi bie de lei di. unwillingness to part.

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11. I Have Been Blind Since Childhood 11. I Have Been Blind Since Childhood (从小我就是个盲童娃娃) 志同词 (从小我就是个盲童娃娃) Lyrics: Zhi Tong

Cong xiao wo jiu shi yi ge mang tong wa I have been blind since I was a child, wa, I am gradually growing up, groping and Zai mo suo tan qiu zhong jian jian zhang da, searching. Sui ran wo kan bu jian wu xia, Though I cannot see the rosy colour of the Xin zhong que sheng kai zhe fen fang de clouds, xian hua, The fragrant flowers are in full bloom in Sui ran wo kan bu jian ben ten de jiang he, my heart, Xiong yong de bo tao que zai wo nao hai Even though I cannot see the rolling waves, pai da. The tempestuous waves echo in my mind. Yan zi zai wei wo yin chang zhe chun tian de gu shi, The swallow is singing the spring story for Xiao xi zai wei wo jiang shu zhe jin qiu de me. tong hua, The stream is telling me about the golden Wo bu ji mo, wo bu you shang, autumn fairy tales, Wo de zhi yin wo de peng you bian tian xia. I am not lonely; I am not laden with grief. Wo de chong jing, I have close friends all over the world. Wo de meng huan, Zai meng long zhong miao hui chu qi mei I long for happiness; de tu hua. My dreams, They are described as a beautiful picture in Wo de qi wang, wo de zhui qiu, the dim light. Yi zai wo geng yun de tu rang li meng ya, My hopes, my searching, Meng ya. They have sprouted from my cultivation of the earth.

Cong xiao wo jiu shi yi ge mang tong wa I have been blind since I was a child, wa, I am gradually growing up, groping and Zai mo suo tan qiu zhong jian jian zhang da, searching. Zai wo men zhe ge duo cai de sheng huo li, In our colourful life, Wo de qing chun yao shan shuo guang hua, I will make my youth shine brilliantly. Tong ni yi yang lang man, It will be like your romantic youth. Tong ni yi yang xiao sa, It will be like your easy graceful youth.

Yi yang lang man, It will be like your romantic youth. Yi yang xiao sa, Ye yao tong ni yi yang lang man, It will be like your easy graceful youth. Yi yang xiao sa.

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12. The Teacher’s Pride in Students is 12. The Teacher’s Pride in Students is Soaring (老师的心声在飞翔) 常春城词 Soaring (老师的心声在飞翔) Lyrics: Chang Chuncheng

Ni gao gao ju qu de jiang bei, The trophy that you hold up is shining in Shan yao zai wo de xin fang, my heart, Ni shuang shou jie guo de rong yu, The joy reflects in my face from your Xin xi zai wo de lian pang. honour that you won. Zuo tian de xiao miao, You were a small seedling yesterday, Jin tian yi shi da shu zhuo zhuang； You are a big tree that grows sturdily today.

Zuo tian de xiao hua, You were a tender flower yesterday, Jin tian yi shi shuo guo piao xiang. You are a rich fruit with fragrance today. Ni de jin bu, ni de cheng zhang, Yan shen zhe wo de meng xiang. Your progress and growth to maturity, Ni de jin bu, ni de cheng zhang, They are extending my dream. Yan shen zhe wo de meng xiang.

Wei ni gu qi de zhang sheng, The sound of clapping for you is surging in Ji dang zai wo de xin shang, my heart, Wei ni xian shang de xian hua, The flowers that people give to you make Rang wo ye gan dao rong guang. me proud. Zuo tian de xiao miao, You were a small seedling yesterday, Jin tian yi shi da shu zhuo zhuang； You are a big tree that grows sturdily today.

Zuo tian de xiao hua, You were a tender flower yesterday, Jin tian yi shi shuo guo piao xiang. You are a rich fruit with fragrance today. Wo de han shui, wo de bi bang, Yuan wei ni jia qi qiao liang. My sweat and my arms, Wo de han shui, wo de bi bang, Yuan wei ni jia qi qiao liang. Wishing to build a bridge for you.

Ah rong guang！ Ah, honour! Rong guang shi xin de qi dian, The honour is a new start. Ah, dream! Ah meng xiang！ The dream is a means to fly high. Meng xiang shi fei xiang de chi bang,

！ Ah rong guang Dedication is a song of praise for life and Rong guang shi xin de qi dian, wonderful movement. Ah meng xiang！ Meng xiang shi fei xiang de chi bang, Wishing to irrigate the land under heaven Feng xian shi sheng ming de zan ge, with hot blood and have successful students de yue zhang, all over the world. Yong re xue jiao guan tian xia tao li fen fang, Tao li fen fang！ Students are all over the world!

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13. Song of the Seaside (海边的歌) 13. Song of the Seaside (海边的歌) 乔羽词 Lyrics: Qiao Yu

Da hai, zhi you da hai neng zuo jian zheng, Great sea, only the great sea can be a witness for us. Wo men wo men ru ci xiang ai, We are deeply in love. Ru ci zhong qing, We are deeply in love. Ru ci xiang ai, ru ci zhong qing, Ye xu you yu bi ci dou tai zun zhong, We might respect each other deeply, Fan er ba ta mo mo mo mo mai zai xin zhong, But by contrast, we bury the love in our Ba ta mo mo mai zai xin zhong. heart silently.

Ah, xin xiang tai yang yi ban chi re, Ah, the heart is as red-hot as the sun, Xiang tai yang yi ban chi re, Dan que yao que yao shi ta que yao shi ta But instead of making the heart beat wildly, Xiang na yue liang yi ban ping jing, it is as peaceful as the moon; You xiang da hai shou qi le bo tao, And it is like the great sea holding back the huge waves, Zhi rang ren kan na qing feng xu lai wei bo Only showing people a light breeze and bu xing, Wei bo bu xing. ripples on the water.

Ah, da hai, Ah! Great sea, Zhi you ni neng zuo jian zheng, Only the great sea can be a witness for us. Wo men wo men ru ci jian xin, We experienced hardship and pain. Ru ci ku tong, Ru ci jian xin, ru ci ku tong, Dan shi xing fu yong yu wo men, However, happiness belongs to us forever, Yin wei liang ke chi re chi re de xin, Because our fiery hearts are both faithful. Tong yang jian zhen, Chi re de xin tong yang jian zhen Because our fiery hearts are both faithful.

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14. The Wild Goose Has Gone (大雁飞走 14. The Wild Goose Has Gone (大雁飞走 了) 邵永强词 了) Lyrics: Shao Yongqiang

Da yan huan le de fei lai le, The wild goose flew back with joy, Huan le de fei lai le, Rao zhe hu bian fei le san quan, It flew around the lake three times. fei le san quan. Da yan shang xin di fei zou le, The wild goose has flown away with Shang xin di fei zou le. sadness, Liu xia yi shuang jing ying de lei yan, It left with its clear eyes filled with tears. Yi shuang jing ying de lei yan. Ah, bu shi da yan wu qing yi, Ah, it is not that the wild goose has no emotion. Shi hu shui ta gan ku liao. It is because the lakes are dry. Ah, bu shi da yan wu qing yi, It is not that the wild goose has no emotion. Shi hu shui ta gan ku liao. It is because the lakes are dry.

Da yan huan le de fei lai le, The wild goose has flown back with joy. Huan le de fei lai le, Rao zhe cao tan fei le san bian, It runs around the grassy shore three times. fei le san bian. Da yan nan guo di fei zou le, The wild goose has flown away with nan guo di fei zou le. sadness. Liu xia ji sheng xin suan de hu huan, It left with a few shouts of bitterness.

Ah, bu shi da yan wu qing yi, Shi cao tan ta huang wu liao. Ah, it is not that the wild goose has no Ah, bu shi da yan wu qing yi, emotion, Shi cao tan ta huang wu liao. It is because the grassy shores are no longer Shi cao tan ta huang wu liao. fertile. Ah! Ah!

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15. Song of Farewell (送别之歌) 15. Song of Farewell (送别之歌) 韩乐群词 Lyrics: Han Lequn

Chuan mao zai sheng qi, The ship anchor has been lifted, Qi di zai ming xiang, The steam whistle has blown. Ah, wo qin ai de ren er, Jiu yao yuan hang. Ah, my lover is going on an ocean voyage. Wo xin zhong chong man le re lie de zhu fu, Deep wishes fill my heart Hai you na mo mo de xi bie de you shang. and the silent sadness of my reluctance to part.

Ah, ni dao le da yang bi an, Ah, when you arrive at the other shore, Ni dao le you yi zhi bang, which is a friendly nation, Bie wang le hu bian de yue ying, Do not forget the shadow of the moon, Bie wang le cao di de fang xiang. the lake and the fragrance of grass. Rang wo zhe shen qing de hua yu, yin qie Let my utterance of deep love, and my de si nian, eager yearning He chen guang yi qi fei dao ni de xin shang. Fly into your heart with the light of the early morning sun.

Ah, ni dao le da yang bi an, Ah, when you arrive at the other shore, Ni dao le you yi zhi bang, which is a friendly nation, Bie wang le chong gao de li xiang, Do not forget the lofty ideals and Bie wang le zu guo de qi wang. expectations of the motherland.

Yuan ni na feng shou de xi xun, Wishing that your good news of a harvest sheng li de jie bao, and report of success, Xiang hong ye yi yang fei man wo de xi Will fill my western window just like the chuang. red maple leaves.

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16. Love of the Great North-West (大西 16. Love of the Great North-West (大西 北之恋) 邵永强词 北之恋) Lyrics: Shao Yongqiang

Wo yuan zai mang mang de da me kan na ri I like seeing the dusk of sunset in the luo de huang hun, boundless desert, Rang ri luo de huang hun ban zhe wo de Letting the dusk of sunset accompany my meng huan xi chen, dreams verging toward the horizon. Wo yuan zai huang he de yuan tou wang na I like watching the colorful clouds floating piao dong de cai yun, at the source of the Yellow River, Rang piao dong de cai yun dai zhe wo de si Letting the floating, colorful clouds take me xu chi cheng. away. Ow! Mi ren de da xi bei, Ah! Charming great Northwest! Fascinating Ow! Mi ren de da xi bei! great Northwest! Ow! Shen qi de da xi bei, Ah! Magical great Northwest! Ow! Shen qi de da xi bei! Mystical great Northwest!

Wo yi qian ci kan ni wo yi qian ci liu lian, I look at you a thousand times; Wo yi wan ci wang ni wo yi wan ci qing I love you a thousand times. xin. I visit you ten thousand times; I admire you ten thousand times. Wo yuan zai liao kuo de cao yuan kan na I like looking at the white goats on the vast xue bai de yang qun, expanse of grassland. Rang xue bai de yang qun zai zhe wo de Letting the white goats carry my hope for xiang wang yuan xing, going on a long journey.

Wo yuan zai mian yan de xia gu ling ting I love listening to the echoes of folk song in na shan ge de hui sheng, the continuous canyon. Rang shan ge de hui sheng xi zhe wo de Letting the echoes of folk song feed my chang xiang fei teng. soaring imagination.

Ow! Duo qing de da xi bei, Ah! Passionate great Northwest! Ow! Duo qing de da xi bei! Ah! Passionate great Northwest! Ow! Zhuang mei de da xi bei, Ah! Magnificent great northwest! Ow! Zhuang mei de da xi bei! Majestic great Northwest!

Wo yi qian ci kan ni, wo yi qiang ci tao zui, I see you a thousand times; Wo yi wan ci wang ni, wo yi wan ci chi I am intoxicated by you a thousand times. qing. I watch you ten thousand times; Wo yi qian ci kan ni, wo yi qian ci tao zui, I am infatuated by you ten thousand times. Ow! Da xi bei! Ah! Da xi bei! Ah! Great Northwest! Great Northwest!

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17. Madam Xiang Lin (祥林嫂) 17. Madam Xiang Lin (祥林嫂) 邵永强词 Lyrics: Shao Yongqiang

Wan yan de xiao lu xue hua piao ling, The snow floated on the zigzag path, Man shan de jiao bu zou zou ting ting, The slow and heavy footsteps walked along and stopped. Gen gen bai fa bei han feng chui qi, Chi dai de mu guang bao han zhe shang The cold wind blew your white hair, tong, Your eyes were dull and full of sorrow. Shui qian gua ni de leng nuan? Shui guan xin ni de xing zong? Who worried that you were cold or warm? Who cared for your whereabouts? Shan meng long, The mountain was hazy! Shui meng long! The water was dim! Gu ku ling ding ni xiang shui biao bai zhe You were lonely and helpless, xin zhong de yuan heng! To whom could you express your resentment? Tian bing leng! The sky was cold! Di bing leng! The earth was cold! Ke lian wu zhu ni xiang shui qing su zhe Poor Madam Xiang Lin. shi jian de bu ping! Bu ping! Who could you talk to in the unfair world?

Speaking: ren si le zhi hou jiu jing you mei Talking to herself: After people die, do they you ling hun? have a soul?

Na li you tian tang zhi lu? Where was the road to heaven? Na di yu zhi men? Where was the door of hell? Ni yi ci ci yang wang zhe chang kong! You looked up at the sky constantly! Ni yi bian bian hu han zhe shang cang! You called out to God!

Wu……. Wu……. Wuuu (crying) …

Wan yan de xiao lu xue hua piao ling, The snow floated on the zigzag path, Man shan de jiao bu zou zou ting ting, The slow and heavy footsteps walked along Jin ye, ni jiang qu xiang he fang? and stopped. Jin ye, ni jiang qu xiang he fang? Where could you go tonight? Huang hun, mo hu le ni de shen ying. The dusk obscured your figure.

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Composer: Zheng Qiufeng: Twelve songs

1. Melody of Yearning for One’s 1. Melody of Yearning for One’s Hometown (思乡曲) Hometown (思乡曲) Lyrics: Qu Cong 瞿琮词

Zhong qiu yue gua tian shang, The moon of the Mid-autumn Festival hung in the sky, Ying mu lou zhao xiao chuang, It reflected on the cottage and was mirrored in the small window. Yuan shan yu yan miao miao, The far away mountains were as vague as mist, Jin shui bi bo mang mang, The nearby water was a blue ripple. Hai wai wan qian you zi, The countless migrants overseas Looked into the distance across the Ge shan ge shui xiang wang, mountains and rivers. Xiang wang, Looking over there and gazing far, Lei yan wu xian chou chang. They sank into melancholy with tears.

The coconut palm was singing in the wind. Ye zi shu feng zhong chang, It told of the emotion of parting from home Su li qing, hua zhong chang, and poured out its heart. Recalling the grass and trees of people’s Zui yi gu xiang cao mu, hometown, They could not forget the parents who gave Nan wang ci mu sheng yang, birth to them and brought them up. The leaves of the Chinese parasol tree fell Qiu lai wu tong ye luo, in autumn,

Hai wai er nü si xiang, The sons and daughters who were overseas yearned for home, Si xiang si xiang, Yearning for home, yearning for home,

Ci qing ci yi jiu chang. The love and affection will last forever.

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2. The Petrel Soars Into the Sky (高飞的 2. The Petrel Soars into the Sky (高飞的 海燕) 瞿琮词 海燕）Lyrics: Qu Cong

Hai yan ah, Ah, petrel! Gao fei de hai yan, You are soaring into the sky, Ni jiao jian di lue guo hai mian, You skim over the surface of the sea strong and vigorous, Zai lang hua jian chuan xing, You dart across in the sea spray, Zai jiao shi shang pan xuan. And circle around the rocks.

Ni ying zhe feng lang, You face the stormy waves, Ni xiang zhe shan dian, And face the flashing lightning, Ni shi yong gan zhe de zi sun, You are a brave child, Ah, Hai cheng zhang zai da hai de Ah, petrel! You grow up in the embrace of huai bao li mian. the great sea.

Hai yan ah, Ah, petrel! Gao fei de hai yan, A petrel soaring into the sky, Ni jian yi ban di zhi shang yun duan, You fly straight up into the sky like an arrow, Zai cai yun li fan fei, You roll in the coloured clouds, Zai yang guang xia shu zhan. You extend yourself under the sunshine. Ni xiang zhe wei lai, You yearn for the future, Ni zui you li xiang, And you seek the ideal.

Ni shi da zi ran de jiao zi, You are the pride of nature, Ah! Hai yan, Ah, petrel! Ni ao xiang zai zu guo de wan li hai tian. You soar in the vast territory of the sky of the motherland. Ah! Ah! Ah! Ah! You soar in the vast territory of the sky of Ni ao xiang zai zu guo de wan li hai tian. the motherland.

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3. Life is So Beautiful (生活是这样美好) 3. Life is So Beautiful (生活是这样美好） 瞿琮词 Lyrics: Qu Cong

Lu bian de hua duo, shu shang de xiao diao, The flowers on the roadside and the birds Ting wo huan le di ge chang. on the tree, Diang dong de shan quan, dang yang de Please listen to my joyful singing. chun feng, The mountain spring gurgles and the spring Ting wo huan le de ge chang. wind ripples through the air, They are listening to my delightful singing. Duo duo rai mi fa sao la sao, la la la la, la, Duo duo rai mi fa sol la sol, la, la, la, la, la. Duo duo rai mi fa sao la mi, la la la la la, Duo duo rai mi fa sol la mi, la, la, la, la, la. Duo duo rai mi fa sao la sao, la la la la la la, Duo duo rai mi fa sol la sol, la, la, la, la, la, la. La la la sao la la la la la sao la la, La la la sao la, la, la, la, la la, sao la la la, La la la la la la la la. La la la la la la la la.

Ge chang tian ye, I sing to the fields, Tian ye shi zhe yang mei li, The fields are so beautiful. Ge chang tian kong, I sing to the sky, Tian kong shi zhe yang qing lang. The sky is so clear. Wo yuan shi yi zhi bai ling, I wish I could be a lark, Zai chun tian li xing fu de ge chang. And sing in the spring with happiness.

Cong lü de jiao lin, han hou de lao niu, The verdant rubber plantation And the honest old cow, Kan wo gao gao di fei xiang, Please watch me flying high. Gu xiang de wa wu, wan wan de xiao lu, The tile roofs of houses and the curved pathways of my hometown, Kan wo gao gao di fei xiang. Please watch me flying high. Duo duo rai mi fa sao la sao, la la la la la Duo duo rai mi fa sol la sol, la la la la la. Duo duo rai mi fa sao la mi, la la la la la, Duo duo rai mi fa sol la mi, la la la la la. Duo duo rai mi fa sao la sao, la la la la la la, Duo duo rai mi fa sol la sol, la la la la la la, La la la la la la, la la la la la la, la la la la la La la la la la la la la la la la la, la la la. La la la la la la la la. La la la la la la la la la la la la, La la la la la la la la.

Fei xiang sheng huo, Flying to live, Sheng huo shi zhe yang mei hao, Life is so beautiful. Fei xiang ming tian, Flying to tomorrow, Ming tiang shi zhe yang hui huang. Tomorrow is so brilliant. Wo yuan shi yi zhi bai ling, I wish I could be a lark, Zai yang guang xia zi you di fei xiang! Flying freely in the sunshine.

La la la la la la la la, la la la la la, La la la la la la la la, la la la la la, La la la la la la la la, la la la la la, La la la la la la la la, la la la la la, La la la la la la la la, la la la la la la, La la la la la la la la, la la la la la la, La la la la la la la la la la, La la la la la la la la la la, La la la la la la la la la – la – la! La la la la la la la la la – la – la!

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4. I Love You, China! (我爱你, 中国!) 4. I Love You, China! (我爱你, 中国!) 瞿琮词 Lyrics: Qu Cong

Bai ling diao cong lan tian fei guo, The larks are flying through the blue sky, Wo ai ni, zhong guo! I love you, China! Wo ai ni, zhong guo! I love you, China! Wo ai ni, zhong guo! I love you, China!

Wo ain chun tian feng bo de yang miao, I love you, the flourishing rice seedling in the spring. Wo ai ni qiu ri jin huang de shuo guo, I love you, the golden and abundant fruits in the autumn. Wo ai ni qing song qi zhi, I love you, the temperament of the pine tree. Wo ai ni hong mei pin ge, I love you, the character of the red plum. Wo ai ni jia xiang de tian zhe, I love you, the sweet sugarcane in our hometown. Hao xiang ru zhi zi run zhe wo de xin wo. It is like the milk moistening my heart. Wo ai ni zhong guo, I love you, China. Wo ai ni zhong guo, I love you, China. Wo yao ba zui mei de ge er xian gei ni, I will dedicate the best of my youth to you Wo de mu qin, wo de zu guo! My mother, my motherland.

Wo ai ni, zhong guo! I love you, China! Wo ai ni, zhong guo! I love you, China! Wo ai ni bi bo gun gun de nan hai, I love you, the blue ripples rolling in the South Sea. Wo ai ni bai xue piao piao de bei guo, I love you, the white snows floating in the North City. Wo ai ni sen lin wu bian, I love you, the endless forests. Wo ai ni qun shan wei e, I love you, the lofty mountains. Wo ai ni zong zong de xiao he, I love you, the babbling stream. Dang zhe qing bo cong wo de meng zhong It was a ripple of green water that flowed liu guo. past in my dream. Wo ai ni zhong guo, I love you, China! Wo ai ni zhong guo, I love you, China! Wo yao ba mei hao de qing chun xian gei ni, I will contribute the most beautiful song to Wo de mu qin, wo de zu guo. you - My mother, my motherland.

Ah! Ah! Ah! Ah! Wo yao ba mei hao de qing chun xian gei ni, I will contribute the most beautiful song to Wo de mu qin, wo de zu guo! you - My mother, my motherland!

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5. Beautiful Peafowl River (美丽的孔雀 5. Beautiful Peafowl River (美丽的孔雀 河) 瞿琮词 河) Lyrics: Qu Cong

Mei li de kong que he, The beautiful Hong Que River flows with Fan gun zhe ceng ceng lang bo, layers of waves, Xiang yi zhi gao fei de kong que, It is like a peafowl in flight crossing the 76 Cong jin se de ta li mu liu guo. golden Ta Limu River. Ah! Kong que he! Ah! The Peafowl River! Ah! Kong que he! Ah! The Peafowl River!

Cheng zhe bi lü de chun feng, You ride in the green spring wind, Sa yi lu fan hua shuo guo, And cast flourishing flowers and rich fruits on the journey. Xiang zhe tai yang sheng qi de dong fang, Facing the place where the sun rises in the east, Ba ben liu bu xi de qing yi ah, Offering its infinite affection to the Xian gei zu guo. Motherland.

Mei li de kong que he, The beautiful Hong Que River has been Ri ye chang zhe dong ren de ge, singing a touching song from day to night. Xiang yi zhi huan le de kong que, It is like a delightful peafowl converging at Xiang yin se de luo bu po hui he. Golden Lop Nur Lake

Ah! Kong que he! Ah! The Peafowl River! Ah! Kong que he! Ah! The Peafowl River! Zan mei sha hai de lü zhou, You praise the oasis of the desert, Ge chang xin cheng de deng huo, And sing about the lights of the new city. Chao zhe wu xian mei hao de wei lai, Facing the infinite, beautiful future to Zhan chi fei xiang, spread its wings to fly, Ah! Chang zhe xing fu de ge. Ah! Singing a happy song!

76 Ta Limu River is the longest domestic river in China. It is located in the north of Ta Limu Basin in Xing Jiang Province. 117

6. Walking in Snow (雪域行) 6. Walking in Snow (雪域行) 陈中秋词 Lyrics: Chen Zhongqiu

Wan li gao yuan xue yu xing, Walking in the snow of the vast territory of the plateau, Han yi sheng xiang ba la ru huan ru Shouting Xiangbala77 is like an illusion. meng…… Han yi sheng xiang ba la ru huan ru meng, xiang ba la!

Wang bu duan yi zuo zuo bing feng xue Watching the endless, icy mountain peaks ling, and snow ridges, Shu bu qing guang can can gu miao jin ding, Many splendid ancient temples with golden roofs are countless. Zhu mu lang ma gao song zai di qiu zhi Mount Everest stands on the peak of the dian, earth, Ya lu zang bu ben teng zai wan shan cong Yalu Tsangpo River races among the zhong. mountains. Chen ji huang yuan you yuan gu de ao mi, There is an ancient secret in the quiet wasteland, Fan hua du shi chong man zhe xian dai de While the prosperous city bustles with feng qing. modern life.

Zhuan bu jin lu man man shen shan sheng The long journey of magical mountains and hu, lakes is never completed, Kan bu wan shui cao lü hua hong. The drifting water, green grasses and red flowers are endless. Bu da la gong shi yi zuo wu qiong bao zang, The Potala Palace is an infinite treasure trove. Gu bao can yuan ji zai zhe li shi xing zong. The ancient castles and uncompleted wall show the imprint of history. Qian nian feng xue sui yue mi meng, Time is a fond illusion filled with thousands of years of wind and snow. Can lan yang guang sa man liao jin ri de The bright sunshine illuminates today’s xing cheng. journey.

Han yi sheng xiang ba la ru huan ru Shouting Xiangbala is like an illusion, meng…… Han yi sheng xiang ba la ru huan ru meng, Shouting Xiangbala is like an illusion … Han yi sheng xiang ba la ru huan ru meng……

77 Xiangbala is a transliteration of the Sanskrit Shambhala, which is nirvana in Tibetan Buddhism.

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7. Spring – From Vocal Divertimento 7. Spring – From Vocal Divertimento ‘The Four Seasons of the Motherland’ ‘The Four Seasons of the Motherland’ (春–声乐套曲 ‘祖国四季’) 瞿琮词 (春 – 声乐套曲‘祖国四季’)

Lyrics: Qu Cong Yi ah, yi ah, chun lai le! Chun lai le! Yi Ya, Yi Ya, spring is coming, Spring is coming! Bing xue xiao rong liao! Da di su xing liao! The ice and snow have melted, Yi ah, da di su xing liao! The great earth is revived. The great earth is revived.

Tao hua tu rui le, The peach blossoms burst with new buds.

Xiao yan zi hui lai le, The swallows have returned home. ‘ding dong ding dong ding dong’, ‘Ding dong, ding dong, ding dong’, The mountain spring is singing, Shan quan zai chang, ‘luo luo luo luo luo luo’, ‘Luo luo, luo luo luo’, Bu gu zai jiao. The cuckoo is shouting.

Ah, spring is coming. Ah, chun lai liao, Ah, Chun lai liao! Ah, spring is coming!

Ah! Chun feng xiao, The spring wind smiled. The awakening of spring clamours, Chun yi nao, Bai diao ming, A hundred birds compete in singing, Bai hua qiao. Flowers compete in splendour. Hong ri zhao shan he, The red sun illuminates mountains and rivers, The spring scenery of the motherland is Zu guo chun guang wu xian hao! Yi ah, ah! Ah! beautiful. Yi Ah! Ah!

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8. Summer, The Sea Mew Has Flown 8. Summer, The Sea Mew Has Flown Back (夏,海欧飞来了) 瞿琮词 Back (夏, 海鸥飞来了) Lyrics: Qu Cong

Xia ri de dong hai bo tao fan gun, The waves ran high in the Eastern Sea of summer, Ge hai tiao wang zu guo de tai wan sheng. Dividing the sea between Taiwan Province and the motherland. Ah! Yi zhi xue bai de hai ou, Ah, a white sea mew swept past the clouds Ah! Jiao jian di lue guo yun ceng, bravely, Ta chong xiang jing tao hai lang, It broke through the raging storm, Ta ying zhe dian shan lei ming, And it faced the flashes of lighting and the rumble of thurder. Hai ou ah hai ou fei lai liao, Ah, the sea mew has flown back. Ta lai zi fu rao de tai wan, It is from rich Taiwan and beautiful Jinmen. Xiu li de jin men. The white clouds fluttered in the sky of the Zu guo de tian kong piao zhe bai yun, motherland, The fresh flowers of May were in full Wu yue de xian hua kai man shan ling bloom on the mountain ridge.

Ah! Yi zhi xue bai de hai ou, Ah, a white sea mew swept past the clouds Ah! Yong gan di chuan guo yun ceng, bravely. Ta chao zhe gu xiang da lu, It turned towards home in Mainland China, Ta pu xiang zu guo mu qin. And it threw itself on the motherland. Hai ou ah hai ou fei lai liao, Ah, the sea mew has flown back, Ta dai lai tai wan er nü yi ke huo re de xin. It brought the warm heart of the Taiwanese people.

Ah! Ah! Ah! The sea mew has flown back, Hai ou ah hai ou fei lai liao, It brought the warm heart of the Taiwanese Ta dai lai tai wan er nu yi ke huo re de xin! people.

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9. Autumn, Pamir, How Beautiful My 9. Autumn, Pamir, How Beautiful My Hometown Is! Hometown Is! (秋- 帕米尔, 我的家乡多 (秋 – 帕米尔, 我的家乡多么美！) 么美！) Lyrics: Qu Cong 瞿琮词

Yun que chang zhe ge zai tian shang fei, The skylark sings flying in the sky, Pa mi er ah, wo de jia xiang duo me mei, Pamir – How beautiful my hometown is! Wo de jia xiang duo me mei!

Yun que chang zhe ge zai tian shang fei, The skylark sings flying in the sky, Pa mi er ah, wo de jia xiang duo me mei, Pamir, how beautiful my hometown is! Mu chang qing qing niu yang fei, The ranch is green; the cows and sheep are strong, Qing ke piao xiang ri ren zui, The floating fragrance of the highland makes people drunk. Ka la su, qing quan shui, The clear water of Kalasu,78 Moon Lake, Yue liang hu, hong mei gei, the red rose, Ying di sheng sheng chui, The eagle flute79 keeps playing, Jun ma cao shang fei. And gallant horses keep running on the grassland. Ah, tan qi re wa pu chang qi ge, Ah, I play the rawap,80 and sing a song, Feng shou de ri zi duo tian mei! How wonderful the day of harvest is!

Shi wu de yue liang zhe ban ming mei, The moon is much brighter at full moon, Pamir, how beautiful my hometown is! Pa mi er ah, wo de jia xiang duo me mei, The lofty ice mountain peak sparkles silver Wei wei de bing feng shan yin hui, light, The night wind blows in the quiet valley. Ji jing de shan gu wan feng chui. The bright moon is clear in Taheman81 Ta he man, ming yue lang, The white pine forest; and the lovers’ gathering, Xue , qing ren hui. Water is the happy wine; the mountain is a Shui shi xing fu jiu, Shan shi bai yu bei. glass of white .

Ah! Pa mi er qiu se wu xian mei, Ah! Pamir’s autumn scenery is very beautiful. Zen bu jiao wo de xin tao zui. Its beauty intoxicates my heart.

78 Kalasu is the only border entry on the land route between China and Tajikistan. 79 The eagle flute is made from an eagle’s bone. 80 Rawap is a traditional instrument with seven strings in Xinjiang Province, shaped like a guitar. It originated in and is popular in Uyghur and other regions of Xinjiang Province. 81 Taheman is a town in Xinjiang Uygur Autonomous Region. 121

10. Winter: Oh, My Motherland! (冬 - 10. Winter: Oh, My Motherland! (冬 – 啊我的祖国) 瞿琮词 啊我的祖国) Lyrics: Qu Cong

Rui xue ah man tian piao, The auspicious snow fell thick and fast in the sky. Hong mei hua zhi qiao. Blossoming boughs of red plum swayed gently in the breeze. Ying xiong bei qian wang zu guo, Looking over the motherland in front of the Monument to the People’s Heroes, Ah! Jiang shan duo yiao rao. Ah! Our land is full of fascination.

Kun lun heng hong fei yu long, arched across the sky just like a flying jade dragon, Huang he wei yi zou yin jiao. Yellow River flows and winds like a silver shark. Ling nan qing song ying feng ting, The pine south of the Five Ridges stood straight in the wind, Sai shang xue lian xiang yang xiao. The snow lotus smiles at the sun in the fortress. Ah! Wo de zu guo! Hong zhuang su guo fen wai jiao. Ah! My motherland! It is charming, clad in white; adorned in red. Ah! Wo qin ai de zu guo! Ah! My motherland! Hong zhuang su guo fen wai jiao! It is charming with cladding in white; adorned in red.

Mang amng xue yuan zhan ge xiang, The boundless snowfields resounded with the singing, Wei wei zuan ta hong qi piao. The red flag fluttered on the lofty drill tower. Ba mian lai feng chuan xi xun, The good news is like wind that comes from eight directions, Si fang fei xue chuan jie bao. The news of victory is like flying snow that Ah! Wo de zu guo! comes from four directions. Yi dai feng ying hao. Ah! My motherland! The distinguished generation produced Ah! Wo qin ai de zu guo, outstanding figures. Yi dai feng liu cheng ying hao. Ah! My motherland! The distinguished generation produced Hong ri dang tou zhao, outstanding figures. Shen zhou geng yao rao. The red sun lit up the sky, Jiang shan pu jin xiu, The Divine Land is more enchanting. Si ji feng guang hao! Hong ri dang tou zhao, Our land spreads like beautiful brocade, Shen zhou geng yao rao. Jiang shan pu jin xiu, Wonderful sights are found in the four Si ji feng guang hao! seasons.

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11. A Drilling Girl (石油姑娘) 11. A Drilling Girl (石油姑娘） 瞿琮词 Lyrics: Qu Cong

Feng chui hai tang xiang sha sha, The cherry-apple trees rustle in the wind. Chang yi ge gu niang jiao hai hua, I sing of a girl, who is named Hai Hua, Shi qi ba sui yu jia nü, She is eighteen years old and from a fishing family. Ai shang zuan jing he you ta, She loves drilling oil wells and raising oil Ah! Ai shang zuan jing he you ta. field towers. Ai, gen zhe shi you kan tan dui, She follows the oil exploration team Hai shang you tian an le jia, And settles in a home with the exploration team. Hai hua ya hai hua, Hai Hua, Hai Hua, Shi you gu niang jiu shi ta ya ha ha ha. She is the petroleum girl.

Hai yan zhan chi ying cai xia, The petrel stretches her wings facing the rosy clouds, Shi you gu niang zhi qi da, The petroleum girl has high aspirations. Lie ri shai diao ji ceng pi, The strong sunshine makes her skin rough, Bei feng hao si dao zi zha, The cold wind pricks like a knife. Ah, bei feng hao si dao zi zha.

Ai, hai hua yi xin xue ji shu, Hai Hua concentrates on learning the techniques of oil exploration, Jian nan kun ku quan bu pa, She is not afraid of the hardship. Hai hua ya hai hua, Hai Hua, Hai Hua, Zuan jing dui ren kua ya ha ha ha. Everybody in the oil exploration team praises her. Zuan jing pen you hua la la, The oil wells rattle with drilling oil, Gu niang xin li le kai le hua, The girl feels so excited, Sheng li mian qian bu ting bu, Her success does not stop her. You shang xian tan shu jing jia, She goes into a dangerous shoal to fix an Ah! You shang xian tan shu jing jia. oil derrick. Ai, wan li shan he pu jin xiu, The vast landscapes are splendid, Zu kai shi you hua, The petroleum flowers are in full bloom in our country. Hai hua ya hai hua, Hai Hua, Hai Hua, You hai yi duo xiang yang hua! You are a sunflower in the oil sea.

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12. I Love the Wintersweet in the Garden 12. I Love the Wintersweet in the Garden (我爱梅园梅) (我爱梅园梅) 瞿琮词 Lyrics: Qu Cong

Bu chang huang shan song, I neither sing of the pine of Yellow Mountain,82 Bu chang xi hu shui, Nor of the water of West Lake. Shi tou cheng li chang yi qu, I only sing one song in – of the Wo chang mei yuan mei. wintersweet in Mei Yuan Garden.83

Mei yuan de mei, mei yuan de mei, The wintersweet flowers bloom in the La yue li kai hua, san jiu tia tu rui, twelfth month of the lunar year, And blossom in the coldest days of winter. The wintersweet flowers are not scared of Mei yuan de mei, mei yuan de mei, the beating rain and snow, Bu pa feng xue da, ren ping han feng chui. And they hold out against the cold wind. Ah, Premier Zhou once lived in Mei Yuan Ah! Zhou zong li dang nian zhu mei yuan, Garden.84 Hong yang kai, pin zhi duo gao The red wintersweet flowers nobly bloom gui. with their faces to the sun. The wintersweet flowers of Mei Yuan Mei yuan de mei, mei yuan de mei, Garden are redder than the azalea, Ta bi du juan hong, ta bi mu dan mei, And more beautiful than the peony; The wintersweet flowers of Mei Yuan Mei yuan de mei, mei yuan de mei, Garden smile before the other flowers, Xiao zai bai hua qian, ang shou ying chun And raise their heads to welcome the gui. coming of spring. Ah, Premier Zhou’s brilliance shines in Mei Ah! Zhou zong li, guang hui zhao mei yuan, Yuan Garden, Nian nian mei hua kai, The wintersweet flowers blossom every year, Pan wang zong li hui. Looking forward to seeing Premier Zhou come back again. Kan bu gou wan shan song, Wang bu jin qian jiang shui, Not seeing enough of the mountain pines, Shi tou cheng li chang song ge, Or the endless waters of the rivers, Wo ai mei yuan de mei. Instead singing an ode in Stone City: Shi tou cheng li chang song ge, I love the wintersweet flowers of Mei Yuan Wo ai mei yuan de mei. Garden.

82 Yellow Mountain is located in Province, China. 83 Mei Yuan Garden is located in Meiyuan New Village, City, China. 84 Chinese premier worked and lived at Mei Yuan Garden in Nanjing from May 1946 to March 1947. 124

Appendix B: Text of commentary for 56 Chinese contemporary art songs

Introduction

The music on this recording comprises Chinese contemporary art songs composed after the year 1976. The music and poetry are original creations by leading Chinese composers and poets of the day. Some contain traditional national musical elements, and will be sung in Mandarin by Qing (Lily) Chang, accompanied at the piano by Mark Sandon.

The first song on this recording is …

1. When the Ox-Drum is Beating by Shi Guangnan

When the Ox-Drum is Beating was composed by Shi Guangnan for mezzo-soprano voice and a simple piano accompaniment. He creates the rhythm of a drum. This creates the kind of warm atmosphere surrounding a party.

It is a beautiful night in Yangon, in Burma. The fragrance of flowers wafts on the evening breeze. The fronds of the palm trees rock softly in the breeze. There is a party. The Burmese and Chinese people greet each other. They dance to the light beat of the ox-drum and sing of the friendship between the two peoples, a friendship that will endure forever.

2. My Mother, My Motherland by Shi Guangnan

It is common for Chinese people to describe their homeland as being like a mother. This figure of speech is often used in patriotic songs. The text of this song by Liang Shangquan depicts the thoughts of a Chinese man who is living abroad. He misses his motherland. As he travels around the world, he misses his motherland even more. He left her when he had black hair. Now, returning to her, his hair is grey. He continues to feel that same spirit, a sense of dedication to My Mother, My Motherland.

3. Begonia Leaves by Shi Guangnan

In this song, Shi Guangnan conveys the homesickness of a soldier serving on the frontier. His intense feelings are aroused by Begonia leaves, conveyed in the use of the Shang mode, a Chinese scale of six pitches: C, D, E, F, G and A.

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The begonia leaves are so red and beautiful, They float softly in the dreams of the traveller. When I dream of begonia leaves, I see the great earth of China. When I dream of begonia leaves, It is though I see the landscape for ten thousand miles ahead. Ah! Begonia leaves. How beautiful is my Motherland!

4. Who Knows My Yearning? by Shi Guangnan

This song reflects the sadness of a girl who has lost her love. Facing the sea, many things come back to her memory:

Who knows my yearning? Who is aware of my worries? Alone, I wander along the beach. I look at the setting sun and listen to the surging waves. I watch and meditate on the sea, Thoughts of the past fill my heart. Who knows my yearning? Who knows my yearning?

5. Hometown by Shi Guangnan

This patriotic song describes a group of soldiers patrolling the frontier. Their duty requires them to live in any part of the country, and the borderland has become a kind of second hometown for them. They are proud of their duties as sentries and have come to love the frontier region of their second hometown as much as they love their native hometown.

6. Ah! Eagle Flute by Shi Guangnan

The eagle flute is a traditional instrument of the Tajik people from Xinjiang Province. The flute is made from the bone of an eagle and the sound of the eagle flute is the symbol of love and a beautiful life.

The text of this song revolves around young boys and girls who eagerly await their first love. When a young boy wants to show a girl he loves her, he plays the eagle flute. In turn, the girl

126 who hears the sound of the flute will fall in love, especially if it is played under the moonlight.

7. Ah, Clouds! by Shi Guangnan

In this love song by Shi Guangnan, written in the traditional Yu mode of six pitches, two different melodic lines convey two distinct images. The piano accompaniment signifies the wind fluttering in the sky, while the vocal melody, somewhat more stable in character, depicts the clouds. This contrast reflects the yearning of a young girl for her lover. She asks the wind and the clouds whether they will bring a letter from him because she yearns to know how much he truly loves her.

8. Early Winter by Shi Guangnan

The melody of this song was created by the Chinese composer Shi Guangnan, and the piano accompaniment was devised and played by Australian composer Stephen Whittington. The text describes a scene in early winter:

Is it early snow? Is it late rain? It is light, It is elegant. Ah! It is the symbol of early winter, The symbol of early winter. Is it early snow? Is it late rain? It is fresh, It is intimate. Ah! It is the anticipation of an early winter The anticipation of an early winter.

9. Lullaby by Shi Guangnan

The composer Shi Guangnan loved the traditional folk music of China. In his songs, he drew on the rich heritage of China to create a strong national style of music. This next song, Lullaby, is one such example. It is composed in a typical Chinese pentatonic scale called ‘the Gong Mode’, using the five pitches C-D-E-G-A, and will be sung in the style typical of Chinese songs of this nature.

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Under the moonlight, a young mother rocks a cradle, trying to put her baby to sleep. But her thoughts are on her husband, a scientist who is far away working with an expeditionary team.

10. A Young Girl from the South by Shi Guangnan

In this song for the mezzo-soprano voice, Shi Guangnan portrays a scene around spring and autumn in the south. A young girl sings a song under a palm tree and then plays a bamboo flute. The scene embodies the love of nature among the Chinese people and the young girl’s yearning for love.

11. Ripe Grapes in Turpan by Shi Guangnan

In this further song by Shi Guangnan, Ripe Grapes in Turpan, a young Uyghur girl, Arnarhan, dances gracefully as she leaves the grape-picking plant. She reflects on her love for Kelimu, and their hopes for a bright future and beautiful life.

12. Why Am I So Happy? By Shi Guangnan

This optimistic song suggests that, even if a person did not achieve remarkable success in life, at least he tried his best for society at large.

I am happy because I am a drop of water in the great sea I am happy because I am a grain of sand on the earth This is how ordinary people regard happiness.

13. The Tea Song in March by Shi Guangnan

In this song, entitled The Tea Song in March, the composer Shi Guangnan uses a number of Chinese musical elements to create a scene of bustle and excitement. Tea planters are picking the tea leaves. There is singing and laughter, the voices of the men drop down as the voices of the women rise up, all celebrating the harvest. This setting uses various modes of the Chinese pentatonic scale and will be sung in the national singing style.

14. A Young Girl’s Heart by Shi Guangna

The melody of this next song by Shi Guangnan, A Young Girl’s Heart, resembles a folk tune from the Yunnan region. The piano accompaniment was created and played by the Australian composer Stephen Whittington.

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The lyrics describe a young girl who complains to a boy whom she loves but he pays no attention to her. He only concentrates on playing his flute, the hulusi that is common in the Yunnan Province. She imagines saying to him: ‘Don’t you know that you have stolen my heart away?’

In the interpretation of this song, some portamenti and other features are included to give the character of local folk singing.

15. The Merry Heart by Shi Guangnan

The Merry Heart is another song by Shi Guangnan celebrating the ‘Victory of October 1976’. This time, he draws on the experience of ethnic Korean people who are distributed over several provinces. In joy and excitement, they play the jiaye harp and beat gold-rimmed drums, which celebrate the arrival of a ‘new spring’ for literature and the arts.

16. The Little Birds are Singing in the Forest by Shi Guangnan

This little song by Shi Guangnan was originally written for coloratura soprano and poses some challenges for the mezzo-soprano voice. Again, it anticipates the delights of the coming spring:

The little birds are singing in the forest, They sing of the fragrance of a spring garden The camellias are red like flames, The fringed irises are like flying wings, Ah, how I look forward to the beautiful scenery of the coming spring.

17. The Ballad of Angelica in Taiwan by Shi Guangnan

In Chinese, the term dang dui has two meanings, despite the fact that the two words have the same spelling and pronunciation. In one sense, the words mean simply ‘should return’. The other meaning of dang dui is the herb angelica, a common feature of traditional Chinese medicine.

Holding the angelica in hand, Watching the bright moon across the sea, Thinking of the hometown with tears.

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For many years, the Chinese Mainland and Taiwan had no formal or postal communication. This song The Ballad of Angelica in Taiwan expressed the hope that the Taiwanese people will one day return to the embrace of Mainland China.

18. The Rainbow After Rain by Shi Guangnan

This short song by Shi Guangnan extols the beauty of the rainbow. After the rain, the rainbow seems even more beautiful, as it rises in the wind and rain, melting in the blue sky. Following the folk inspiration of the lyrics, the singing style here also follows folk-music delivery.

19. The Passionate Land by Shi Guangnan

To the Chinese composer, it is important to convey in music the images in the texts of their songs. In this song by Shi Guangnan, The Passionate Land, the restless rhythm of the piano accompaniment conveys the passionate emotion of the text, as people remember their hometown:

Oh, my homeland, how I love you so passionately! How I remember the twittering of birds And the fragrance of flowers along the path I used to walk along. How I remember the layers of green and gold crops in the fields I used to cultivate. How could I leave this part of the river and the ridge of this hill? I embraced the locust tree, a tree a hundred years old I hugged it as I would hug the body of my mother.

20. Celebration Song by Shi Guangnan

In October 1976, the Chinese President ordered the arrest of the members of the Gang of Four, leaders of the Great Proletarian Cultural Revolution in China. Madame Mao, , who was largely responsible for the restrictions placed on the arts and literature.

Their arrest marked the end of the Cultural Revolution, and was celebrated by all artists throughout China.

During the Cultural Revolution the composer Shi Guangan was severely criticized for his ‘bourgeois sentiments’. He was sent to work on a farm and he stopped composing altogether. When the Gang of Four were removed, he was keen to write songs to express the relief and

130 excitement of the Chinese people. Shi Guangan’s compositions then ‘flowed like a flood tide’.

In his book How I Write Songs, Shi Guangan described the Cultural Revolution as ‘a disaster for our country’. He wanted to write something to celebrate the ‘Victory of October’ but waited until he found the right texts. The lyrics of Han Wei, Shi found ‘vivid and moving, rich and concise’, not only reviewing the past and celebrating the victory, but also expressing confidence in the future.

Although his Celebration Song is cheerful, Shi Guangnan was in tears when he wrote it because it recalled the terrible times he endured during the Cultural Revolution. His song begins with the resonant sound of and drums in the background.

21. My Country, My Beloved Mother by Lu Zaiyi

In the music of all his songs, the composer Lu Zaiyi follows the rhythm of the words of the text carefully. This particular song, My Country, My Beloved Mother, is a good example. It expresses the love of the Chinese people for their motherland.

There is no one who does not love his own mother With the warmest feelings of human nature. Dear motherland, my beloved mother. The Yangtze and the Yellow Rivers rejoice In the passion we have for our country.

22. The Bridge in My Homeland by Lu Zaiyi

In China, the composer Lu Zaiyi is regarded as a musical poet. In his art songs, his always convey the images of the lyrics of the songs. In the introduction to this song, for instance, The Bridge in My Homeland, arpeggios in the piano accompaniment depict the ripples of water. At the end of the song, triplet figures portray waves lapping on the surface of a river. This song describes the various kinds of small bridges in the hometown and the happy life of people who live there.

23. Poetry of Looking over My Home by Lu Zaiyi

This song, Poetry of Looking over My Home was composed by Lu Zaiyi.

Its lyrics are by the poet Yu Youren who was separated from his wife and son when he was kidnapped and sent to Taiwan. In his diary entry on 12th January 1962, just two years before 131 his death in Taiwan, he expressed his grief that he could not return home to Mainland China to be reunited with his family:

Bury me on the top of the high mountain, Looking over my hometown, The hometown I cannot see, The hometown I can never forget.

Bury me on the top of the high mountain, Looking over the mainland, The mainland I cannot see, The mainland I left, only to cry so bitterly!

The sky is so vast, the earth so wild and boundless, Bury me on the top of the high mountain, I see my motherland mourning.

24. Longing and Expectation by Lu Zaiyi

In this next song by Lu Zaiyi, Longing and Expectation, the text conveys the yearning of people in China who look forward to being united with their fellow Chinese overseas, especially those in Taiwan. The text reminds us that for political reasons before 1979, it was not possible even to send letters between the separated families.

25. The Last Dream by Lu Zaiyi

Here is another song by Lu Zaiyi based on a familiar theme. The people of Mainland China and Taiwan look forward to the day when they can be reunited. It is their Last Dream.

I dreamed many times, But each time, it was the same dream. I dreamed of a loving mother and the tears of her children. How happy these families were to be together again. Taiwan Straits! Oh, the Straits! I wish this were the last dream I wish the dream would come true To be reunited in the bright moonlight of our hometown.

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26. Where is my Home? By Lu Zaiyi

For Chinese people, the idea of home is very important.

Ah home! Where is my home? My home isn’t in the houses of others. My home is borne in the long dream of homesickness. Homesickness caused me many worries for many summers … Home is like the sun that warms from a long distance. Home is like the moon that hangs in the sky.

27. I Love This Land by Lu Zaiyi

The music of this song by Lu Zaiyi, the lyrics are by Ai Qing (1910–1999), regarded as one of the finest poets in modern China. These lyrics were written on 17 November 1938, shortly after the Japanese had taken Wuhan City. Like many artists, Ai Qing had to flee Wuhan for Guilin. Realizing that his country had been defeated and that he had lost his home, Ai Qing’s heart swelled with hatred for the conquering Japanese and with deep love for his homeland:

If I were a bird, I would sing with my hoarse voice. Singing about lands attacked by blizzards, Singing about the sad and angry river, constantly surging, Singing about the wind which rages incessantly. I would sing also about the soft dawn, which rises from the forest … Then I would die. Even my feathers would rot in the soil. Why my eyes are so often filled with tears? It is because I love this land so deeply.

28. The Motherland will be in My Heart Forever by Shang Deyi

This patriotic song with music by Shang Deyi to lyrics by Zhao Lan illustrates the common saying in China: ‘Every man alive has a duty to his country.’

My motherland is in my dreams, In my song, in my life, and in my love. Whatever the season – spring, summer, autumn or winter The motherland will be in my heart forever. 133

29. Do You Forget Me, My Teacher? by Shang Deyi

In China, teachers are regarded as ‘the creators of the human soul’. They are held in high esteem throughout society. This song by Shang Deyi, Do You Forget Me, My Teacher? conveys the appreciation of students who have graduated and who now have successful careers. They are grateful for the guidance of their teacher. Standing in the moonlight, a student remembers her teacher:

Once, in my childhood dream, you played magic, mystical flute. From that time onwards, my life searched for meaning. In the harbor of our youth, you raised the tide of idealism. From that time onwards, I have understood the pursued of my life.

30. I Left My Dear Girl by Shang Deyi

In this love song by Shang Deyi, a young man has had to leave his girlfriend to serve on the frontier. Before he left, she gave him a small photograph that sustains his spirit. Although she is far from him, it seems that she is beside him constantly and accompanies his dreams every night.

31. The Teacher’s Pride in Students is Soaring by Shang Deyi

In this song, once again by Shang Deyi, a teacher expresses pride and happiness when his students are successful in their careers:

Only yesterday you were a small seedling, Today you have grown into a big sturdy tree. Only yesterday you were a tender flower, Today you are ripe fruits, rich in their fragrance.

32. Love Song of the Pastureland by Shang Deyi

In this further love song, a younger man falls in love with a beautiful girl named Mayila. Shang Deyi’s music is bright and vivacious; he repeats the melody to reinforce the theme of love. In his heart, he sings to her:

In the morning, I looked after the sheep on the hillside. Every day I passed in front of your tent. It is not that I like taking an indirect route It is just that I want to listen to your singing. 134

O, Mayila! Your voice is so sweet, It is like the river that flows with honey.

33. A Yearning Song to Mother by Shang Deyi

Of all the forms of love in the world, the love of a mother is the most selfless. This song by Shang Deyi, A Yearning Song to Mother, conveys some of the emotions the poet feels when reflecting on his mother: There is grief when a mother has died and is lost forever. There are memories of a mother who always used to worry about her son. In his heart, he remembers how she used to work so hard. When the son has grown up, her face lights up with joy. If he had any faults, she was sad, but in secret. There is yearning when the poet reflects that all his happiness comes from his mother.

34. Karakoram by Shang Deyi

Karakoram is a mountain range that spans the borders between Pakistan, India and China, where it is located in the region of Gilgit-Baltistan, Ladakh and southern Xinjiang.

Shang Deyi’s song is an ode to the forces which guard the frontier. A young girl’s lover has been posted to the frontier guarding the country’s western border. The character of the frontier soldiers is like that of the Karakoram Mountains themselves: firmness, confidence and indomitability.

35. I Have Been Blind Since Childhood by Shang Deyi

This song, again by Shang Deyi, depicts the spirit of a young man who has been blind since childhood. Despite his disability, he has maintained an optimistic attitude to life:

Although I am unable to see the rosy colour of the clouds, In my heart, the fragrant flowers are in full bloom. Even though I cannot see the waves rolling in the sea, Their stormy roar echoes in my mind.

36. Night in the Great Desert by Shang Deyi

In the introduction to this song, Night in the Great Desert, the composer Shang Deyi creates the sound of the bells of camels as they walk through the desert at night:

The light from the moon is dim, the stars are shining. The camel train marches along the endless desert.

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Quiet and vast, the desert goes on forever. The sound of the bells of the camels floats through the dark night.

Later in the song, the lyrics express admiration for the firm and indomitable spirit of the camel, ‘the ship of the desert’:

Ah, camel! O, camel! As you look into the far distance, Your perseverance is something to be cherished. Silently, you trek, step by step. Ah, on your back you carry the burden of someone longing for a life that has no regrets, Steadfastly, you carry your burden, no matter how long and bumpy the road.

37. Teacher, I Always Remember You by Shang Deyi

In China, it is a virtuous tradition to honour teachers. This song describes a group of students paying their tribute and sincere appreciation to their teachers:

Whenever I receive a reward for hard work, My teacher, I always remember you. I remember your gentle face, your lovely smile and voice. In my heart, I send my silent greetings to you. Ah, dear teacher, how could I ever forget you? This seedling has borne fruit; It cannot forget the spring wind and rain which nourished it.

38. I Left My Heart Here by Shang Deyi

This song by Shang Deyi depicts a young woman who is attached to the Great Northwest region where she used to live. Her thoughts turn to the Snow Mountain, the , the green grasslands and the people: she can hardly bear leaving and living away from them.

39. Song of the Seaside by Shang Deyi

Among the older generations of Chinese people, the concept of love is quite distinctive. Although they may never be able to be together, the concept of love between two people who deeply love each other binds them forever. They hide their love in their hearts and endure the

136 bitter happiness of love unfulfilled. This song, again by Shang Deyi, describes a couple who for some reasons have had to separate. Regardless, the great sea bears witness to their love. The love in their heart like the sun, they are faithful in believing in their love.

40. The Hunchback of Notre Dame by Shang Deyi

This setting by Shang Deyi, to a text devised by Zhi Tong, is based on the famous novel by Victor Hugo, The Hunchback of Notre Dame. The music draws on many different dimensions of Chinese and European art song to create a true musical melodrama. The text praises truth, kindness and beauty, and importantly the pure love between Quasimodo, the hunchback bell- ringer of Notre Dame Cathedral and the beautiful Roma girl, Esmeralda. In keeping with the narrative of the story, Quasimodo’s bells can be heard in the piano accompaniment.

41. The Wild Goose Has Gone by Shang Deyi

This song appeals to us to save the environment. Because the lakes have gone dry, the wild goose has no place to live. It flies away in tears:

The wild goose had flown back in joy Three times it flew around the lake Now the wild goose has flown away with sadness It flew away with its eyes filled with tears.

42. Love of the Great Northwest by Shang Deyi

At one stage of his life, the composer Shang Deyi travelled to the Mongolian Plains, known as the Great Northwest, to see what life was like there. He loved the region and wrote several songs about it. This song describes the beauty of the Great Northwest: the endless desert, the dust at sunset, the source of the Yellow River and the clouds, which float in a bed of vivid colour.

43. Song of Farewell by Shang Deyi

In this love song by Shang Deyi, a young couple farewell each other at the port as one of them departs for study overseas:

The anchor has been lifted, The whistle has blown, Ah, my lover goes on a voyage across the ocean. 137

Do not forget, my love, the shadow of the moon, The lake, and the fragrance of grass, Let this declaration of my very deep love for you And my eager yearning to see you again Fly into your heart with the light of the early morning sun.

44. Madame Xiang Lin by Shang Deyi

The music of this song by Shang Deyi, the lyrics were written by Shao Yongqiang. They are based on the novel Zhu Fu by the famous writer Lu Xun.

The composer Shang Deyi regards this work as a companion piece to his setting of The Hunchback of Notre Dame.

This is a tragic story about an isolated and wretched lady who lost her only son. Initially, the people of her town showed sympathy for her loss. But every day she repeated the same words to everyone, ‘My son has died. My son has died.’ People realized she is going mad so gradually they started to ignore her. The song depicts the miserable fate of the woman and the cold and unforgiving attitude of the people around her.

45. I love you, China! by Zheng Qiufeng

This patriotic song I Love you, China! is very famous. The deep love of the people for their country is expressed in the repetition of lines in the text:

I love you, O rice seedlings that flourish in the spring, I love you, O golden fruits that abound in the autumn, I love you, like the temperament of the pine tree I love you, like the character of the red plum I love you, like the sweet sugarcane from our hometown. It is like the milk which nourishes my spirit.

46. Melody of Yearning for One’s Hometown by Zheng Qiufeng

In China, people miss their families more strongly at times of joyous festivals. The Moon Festival occurs in September, when, traditionally, all members of the family get together, and they eat cakes and watch the moon. The music of this song by Zheng Qiufeng expresses the feelings of those Chinese who are overseas and who yearn for their hometown on the night of the Moon Festival.

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47. Life is So Beautiful by Zheng Qiufeng

This is another song by Zheng Qiufeng, composed in 1979 for the film Loyal Chinese Overseas. The lively melody and rhythm of the song Life is So Beautiful portray a young girl who runs and jumps in the fields. She has a conversation with the world around her – with the flowers by the roadside, with the birds in the trees, with the streams and fields and the tile- roofed houses, and cows in the meadows. She sings about the beauties of nature and the joys of a happy life.

48. The Petrel Soars into the Sky by Zheng Qiufeng

This song, also by Zheng Qiufeng, praises the strength and bravery of the petrel as it fights against a violent storm:

Ah, petrel! Ah, petrel! Strong and vigorous, You soar into the sky, You skim across the surface of the sea. You dart across the sea spray, You circle around the rocks. You face the waves of the storm and the flashes of lightning. Ah, petrel. You are a brave creature. You grow up in the embrace of the great sea.

49. A Drilling Girl by Zheng Qiufeng

Zheng Qiufeng’s song A Drilling Girl revolves around the figure of Hai Hua, an 18-year-old girl who came from a family of fishermen but who has made her home with the crew of an oil drill. She doesn’t care if the sun burns her skin or if the cold wind cuts like a knife. She concentrates solely on learning the techniques of oil exploration, because she loves oilfield towers and helping to drill for oil wells. Everyone loves her; she is like a sunflower in a sea of oil.

50. Walking in Snow by Zheng Qiufeng

At the summit of the earth stands Mount Qomolangma and around its mountain peaks flows the rushing Yalu Tsangpo River. A famous shrine attracts people from all over the country. Walking through the snow, they are overcome by emotion and shout with excitement: ‘Xiang Ba La, Xiang Ba La …’. This is the Chinese form of the Sanskrit term ‘Shambala’ which in Tibetan Buddhism signifies the ascent to Nirvana. 139

Zheng Qiufeng’s composition is based on lyrics by Chen Zhongqiu, with a piano arrangement by Australian composer Stephen Whittington. It begins by evoking the towering mountains, the plunging valleys and rushing rivers of the . Out of this the image of Shambala emerges as in a dream. The next section resembles more folk-like music before the mystical image of Shambala returns to conclude the song. The accompaniment is played by Stephen Whittington.

51. Beautiful Peafowl River by Zheng Qiufeng

The Peafowl River is located in the city of Kur Le in Xinjiang Province. It is one of the tributaries of the Tarim River and its waters are crystal clear. The river flows with layers of billowing waves, like a peacock displaying its fine tail feathers.

52. I Love the Wintersweet in the Garden by Zheng Qiufeng

This song by Zheng Qiufeng was written as a tribute to the former Chinese premier, Zhou Enlai. From May 1946 to March 1947, Mr Zhou lived and worked at the Mei Yuan Garden in Nanjing. Chinese people cherish the wintersweet plant because it blooms in the 12th month of the lunar year, and blossoms in the coldest days of winter.

Rain and snow beating down, Do not scare the wintersweet, It holds firm against the cold wind. Its noble character is just like that of Premier Zhou.

53. The Four Seasons of the Motherland, a voice suite by Zheng Qiufeng

From 1976, China began a series of reforms and opened up to the outside world. Since that time, literary and musical circles, like other spheres of Chinese life, gradually awakened from the bleak time of the Cultural Revolution. Music began to shake off the role of politics imposed on it. Zheng Qiufeng composed his Four Seasons of the Motherland in 1979 to celebrate the 30th anniversary of Chinese National Day and The Four Seasons of the Motherland includes four songs which reflect a new season of hope.

Spring, by Zheng Qiufeng

The first song of Four Seasons for coloratura soprano, Zheng Qiufeng invites us to focus on the beautiful scenery associated with spring:

Spring is coming! 140

The ice and snow have melted, The great earth has been revived. The peach blossoms are bursting with buds, The swallows are returning home. ‘Ding dong, Ding dong’ the mountain spring is bubbling. ‘Luoluo, Luoluo’, the cuckoo is singing.

54. Summer, by Zheng Qiufeng

The second song of Four Seasons for mezzo-soprano voice portrays the seagull soaring across the Eastern Ocean. It passes on a greeting from the people of Taiwan. It reminds us that people from Mainland China look forward to reunification, after the postal communication resumed from both sides in 1988.

55. Autumn, Pamir, How Beautiful my Hometown Is! by Zheng Qiufeng

The third song of The Four Seasons of the Motherland by Zheng Qiufeng reveals a series of beautiful scenes of the in Xinjiang Province. It established two images in music: that of the eagle flute, a traditional instrument of the Tajik people, and the skylark, which uses the typical muqam modes, giving the melody a distinctive character. It reflects the fact that people in Pamir have a good life and are content with their hometown.

56. Winter, Oh, My Motherland! by Zheng Qiufeng

The last song of Four Seasons portrays the beautiful rivers and snow-capped mountains of ‘the Divine Land’, a poetic name for China. People sing of their pride in the Motherland:

The red sun lights up the sky The Divine Land is more enchanting. Our land spreads forth like beautiful brocade, There are wonderful sights to see in all four seasons.

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Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination

Please refer to DVD provided with the submission.

Songs by Shi Guangnan

Hong Ruding. People’s Musician Shi Guangnan’s 101 Songs. Bejing: China’s International Broadcasting Publishing House, 1991, 78, 94.

Jilin Musicians Association. Modern Music. Changchun: Jilin Musicians Association Press, no. 6, 2015, 1, 8, 11.

Ministry of Culture. The Complete Works of Shi Guangnan: Vocal Volume. Beijing: Culture and Art Press, date to be confirmed. The researcher obtained electronic versions of three music scores in February 2017.

Shi Guangnan. Song’s Collection of Shi Guangnan Repe Grapes in Turpan. Beijing: People’s Publishing House, 1984, 1, 6, 16, 18, 28, 30, 34.

Website

Shi Guangnan. Leaves of Begonia. Accessed November 5, 2014. http://www.qupu123.com/meisheng/sizi.p14345.html

Shi Guangnan. A Young Girl of South. 我爱曲谱 52qupu.com. Accessed March 8, 2016.

Songs by Lu Zaiyi

Lu Zaiyi. Collection of Art Songs for Lu Zaiyi. Shanghai: Shanghai Music Publishing House, 2002, 1, 7, 13, 17, 29, 35, 65.

Songs by Shang Deyi

Shang Deyi. Collection of Solo Art Songs. Beijing: Hua Le Publishing House, 1998, 24, 27, 33, 51, 57, 60, 78, 87, 91, 97, 114, 118.

Shang Deyi. Collection of New Art Songs. Beijing: Central Conservatory of Music Publishing House, 2008, 6, 14, 53, 80.

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Songs by Zheng Qiufeng

Hui, Luo. Collection of Songs for Voice Volume One: Soprano. Beijing: Higher Education Press, 2002, 69, 95, 122.

Hui, Luo. Collection of Songs for Voice Volume Two: Soprano. Beijing: Higher Education Press, 2002, 108.

Luo, Hui. Collection of Songs for Voice Volume Two: Mezzo. Beijing: Higher Education Press, 2002, 83.

Voice Department of Central Conservatory of Music. Collection of Songs for Voice. Beijing: People’s Music Publishing House, 1983, 21.

Zheng Qiufeng. Vocal Divertimento Four Seasons of the Motherland. Beijing: People’s Music Publishing House, 1987, 1, 6, 11, 17.

Website

Zheng Qiufeng. I Love Wintersweet of Mei Yuan Garden. Accessed July 12, 2015. http://www.qupu123.com/minge/sanzi.xueyuhang.html

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Appendix D: Copy of Letter of The University of Adelaide Ethics Approval Number H – 2014 - 184

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